Presented
to the Library by
Mrs. Pitz Eugene Dixon
LIBRARY
OF THE
PHILADELPHIA
MUSEUM
OF ART
wpbe vppnbowes swrougbt
swrsten ful tbtfcfce
sb^nen vx^tb sbapen sbelfcee.
Creeo of piers plowman.
THE HERALDIC STAINED GLASS
AT RONAELE MANOR
THE STAIR HALL
THE COLLECTION OF
HERALDIC STAINED GLASS
AT RONAELE MANOR
ELKINS PARK PENNSYLVANIA
THE RESIDENCE OF
Mr. & Mrs. FITZ EUGENE DIXON
DESCRIBED BY
F. SYDNEY EDEN
AUTHOR OF
"ANCIENT STAINED AND
PAINTED GLASS"
PRINTED BY
THE ARDEN PRESS, LONDON
MCMXXVII
J?E3 2 5 1953
3^*
PREFACE
HE sumptuous and important collection of
ancient stained glass described in this book is
entirely made up of panels which, until re-
cently, adorned the windows of some of Eng-
land's most famous houses.
The heraldry depicted in these panels brings
forcibly before us many of the most moving scenes of Eng-
land's story, and, in their blaze of colour and in their form, the
actors in such scenes are seen again to walk the stage of history.
The Wars of the Roses, the strong and brilliant rule of the two
Henrys, the seventh and the eighth, follow on and grow out of
the events of Edward Ill's reign and the rivalries and jealou-
sies of his descendants, and are themselves the roots from
which sprang the ambitions and dissensions which charac-
terised later Tudor days and the years of the Stuart Dynasty.
All these and much more live again in this ancient heraldry ;
more may be learnt from it by the thoughtful and observant
mind than from many a page of the history books. Heraldry
tells its story in clear, incisive language, without passion or
exaggeration, and it is often found to be the key to the solu-
tion of problems which have perplexed and baffled the most
learned of historians.
It would have wearied the reader and overburdened these
pages to have told all that one would like to have told of the
great folk — churchmen, statesmen, soldiers, scholars and cour-
tiers— whose coat armour glows in the windows at Ronaele
Manor, but it is hoped that enough has been said to adequately
illustrate their heraldry and, before all, to whet the reader's
appetite for fuller knowledge.
A note of contrast is struck by the panels of a domestic
character, from old English, Dutch and Flemish homes. They
v
Preface
tell of the lives and endeavours of merchant-adventurers and
craftsmen of the seventeenth century, of their bold voyaging
in little-known seas and of the simplicity, and dignity withal,
of their daily doings.
The shepherd with his flock, the birds round the homestead,
the harvest of the sea, all such things, common and daily
sights, varied by snatches from classical story and mediaeval
legend, find their place in this painted glass from old windows.
Nemo est haeres viventis, so I will not call the American
people the heirs of Europe by reason of their conservation of
so much of the best of the ancient art of the Old World, but I
do rejoice in the loving care and thoughtful appreciation shown
by them in dealing with such of it as comes their way.
To the expert knowledge, artistic discrimination and zeal
displayed by Mr. Roy Grosvenor Thomas and Mr. Wilfred
Drake is primarily due the credit for assembling this remark-
able collection of gems of ancient art now set up in the win-
dows of Ronaele Manor.
F. SYDNEY EDEN.
London, 1927.
VI
CONTENTS
GROUND FLOOR
' Morning Room
The Library
The Living Room . .
The Dining Room . .
The Reception Room
The Entrance Hall
The Stair Hall
The Men's Room . .
Page
i
H
33
40
5i
53
55
81
SECOND STORY
Mr. Dixon's Room
The Boudoir
Mrs. Dixon's Room
Miss Dixon's Room
Mr. Dixon Junr.'s Room
The West Room
The North Room . .
The North-East Room
An Armorial of the Heraldic Windows
Index
83
88
90
92
94
96
98
99
100
109
Vli
LIST OF PLATES
Facing Page
Frontispiece
i. Arms of John Dudley, Duke of Northumberland,
1\« VJ » • • •• •• •• •• • • • • X
16
18
2. Arms of King Henry VIII
3 . Arms of King Henry VIII
4. Arms of Sir William Parr, K.G
5. Arms of Edmund Lacy and John Grandison
6. Arms of the Kingdoms of France and England 10
7. Arms of Sir Roger Fiennes and the Kingdom of
France 12
8. Arms of Edward the Black Prince..
9. Arms of the City of Norwich
10. Arms of King Edward III
11. Arms of Edward, Prince of Wales, afterwards
King Edward VI
12. Arms of King Henry VIII
13. Arms of John Barrett of Belhus ..
14. Arms of Lord Grey of Wilton
15. Arms of Sir Edward Norris
16. Arms of Robert, Earl of Sussex, K.G. . .
17. Arms of Sir Giles Capel
18. Arms of George, Earl of Cumberland, K.G.
19. Arms of William, Marquess of Winchester
20. Arms of Sir Francis Knolles
21. Arms of Sir Edward Coke
22. Arms of Thomas, Earl of Exeter . .
23. Arms of Thomas, Earl of Rutland
20
22
24
26
28
30
32
34
36
38
40
42
44
IX
List of Plates
Facing Page
46
24. Arms of Henry, Earl of Lincoln .
25. Arms of Ambrose, Earl of Warwick
26. Arms of Thomas, Lord Wentworth
27. Arms of King Henry VIII
28. Arms of Erlye and Clederowe
29. Arms of King Henry VIII
30. Arms of Thomas, Lord Audley
31. Arms of Queen Katherine Parr
32. Arms of Paulet of Edington
33. Arms of Paulet and Clederowe
34. Arms of Edward, Prince of Wales
35. Arms of Edward, Prince of Wales
36. Arms of Seymour of Sudeley
37. Arms of Sir John Hungerford, Sir Walter Hunger
ford, and Thomas Hungerford
38. Arms of Edward, Prince of Wales
39. Arms of Thomas Hugford, Sir Anthony Hunger
ford, and Henry, Earl of Devon
40. Arms of King Henry VII
41. Arms of Queen Mary I
42. Arms of King Henry VIII
43. Arms of Sir Thomas Moyle ; John, Lord Lovel, and
Sir William Norris
44. Arms of Queen Elizabeth and Queen Mary
45. Badge of King Henry VII ..
46. Badge of King Henry VII . .
47. Badge of King Henry VII . .
List of Plates
Facing Page
48. Arms of Edward, Prince of Wales . . . . 94
49. Arms of Henry, Earl of Derby, K.G. ; Henry,
Earl of Sussex, K.G., and Queen Elizabeth . . 96
50. Arms of King Henry VIII impaled with the Cross
of St. George 98
51. Arms of William, Lord Burghley, K.G.; Robert,
Earl of Leicester, K.G. ; and King Henry VIII. . 100
52. Arms of Robert, Earl of Leicester, K.G.; Ambrose,
Earl of Warwick, K.G.; and Thomas, Earl of
Sussex, K.G 102
53. Arms of Lord Grey of Wilton, K.G. ; Francis, Earl
of Bedford, K.G. ; and William, Marquess of
Winchester, K.G 104
XI
MORNING ROOM
PLATE i
John Dudley, Duke of Northumberland
XVI century
THE HERALDIC STAINED GLASS AT
RONAELE MANOR, ELKINS PARK
PENNSYLVANIA
MORNING ROOM
T the north end of the room is a window of four
lights containing in each upper light a shield of
arms — in the two central lights Royal heraldry
of the Tudor period, and, on either side, arms
of noblemen distinguished in the Courts of the
Tudor sovereigns of England. All these deco-
rated the windows of the great house built at Cassiobury in
Hertfordshire by Sir Richard Morrison and his son Charles
between the years 1545 and 1556, a part of which is incorpo-
rated in the present house there, restored by the architect
James Wyatt, in 1800, by the order of the first Earl of Essex of
the Capel family. Prior to the removal of these panels to
Ronaele Manor they were fixed in the windows of the cloister
on the south-west side of the courtyard of Wyatt's building. ^,.
The first light from the west shows the arms of John Dud-
ley, Duke of Northumberland, whose ill-laid plan to divert
the succession to the crown of England on the death of
Edward VI to his own family ended in his own beheading on
Tower Hill and the imprisonment of his five sons in the Tower
of London.
Of these, Guilford, and his child- wife, Jane Grey, the
Queen of a day, were executed for their enforced complicity in
Northumberland's treason, and the others, John, Ambrose,
Robert and Henry, remained under arrest for some time. In
the Tower of London, in the Beauchamp Tower, is to be seen
A I
Heraldic Stained Glass
to-day a carved wall-panel commemorating the imprisonment
of these brothers, done by the eldest of them, John, to while
away the tedious hours of his enforced stay in durance. This
shield was painted before John Dudley's elevation to the
Dukedom, when he was Earl of Warwick only.
Several of the quarterings in this shield are painted in black
and white only, though some of them show examples of
' abraded ' work — the removal of a coloured ' flash ' or
veneer on white glass — so as to indicate coloured objects on
white or white objects on colour, as the case may be.
The fourteen quarterings which follow the lion of Dudley in
this shield call for a few remarks, for so many quarterings
indicate a claim to very ancient descent, and it is a notorious
fact that the question of the origin of the Dudleys is not free
from difficulty. There was a story, put about by enemies of
the family, to the effect that Edmund Dudley, Henry VII's
Minister, was the son of a carpenter in the town of Dudley
who migrated to Lewes in Sussex, but this tale has been quite
disproved by the discovery, some years ago, of the will of
Edmund's father, John Dudley of Atherington in Sussex,
Esquire, High Sheriff of his County. In this will he be-
queaths money for prayers to be said for the souls of William
Dudley, Bishop of Durham, and * my brother Oliver Dudley.'
Now, as both these persons are known to have been sons of
John, sixth Baron of Dudley, it follows that Edmund's father,
John the testator, was also a son of Lord Dudley. Thus, it
seems reasonably clear that the claim of the family, evidenced
by the arms on this medallion of stained glass, to descend from
the ancient Barons of Dudley was well founded.
The Dudleys were evidently entitled to the sixth quarter in
the shield — two blue lions on a gold field, the arms of Somery,
MORNING ROOM
PLATE 2
King Henry VIII
XVI century
Morning Room
and those of Grey and Hastings, which are in the third and
fourth quarters. The arms on the escutcheon of pretence are
those of John Dudley's wife Jane, daughter and heiress of Sir
Edward Guilford.
The two circular medallions with the Royal arms of j-jl-9<? ^z#
Henry VIII in the central lights are of very special interest on Plate,.
account of the clever lead work in the first and fourth quarters,
and the charming chaplets with which they are encircled. It
will be noticed that the glass painter has drilled holes in the
pot-metal blue glass of the field to take the small pieces on
which the fleurs-de-lis are painted and has inserted them into
the blue without connecting leads to the sides of the shield, an
extremely difficult piece of work. The lions, too, exhibit very
good examples of abrasion from the ruby glass.
It is not infrequently asked why the arms of France are
placed, as here, in the first and fourth quarters of the ancient
shield of England, thus giving them precedence over the lions
of England. There is no certain answer to this question, but
the probability is that Edward III, first of English kings to
add the arms of France to the coat of England, an assumption,
it is supposed, made in support of his claim to the sovereignty
of that country, held that France, as between the nations, took
precedence of England, and it is certain that the French Am-
bassador came before the English Ambassador at the Imperial
Court.
In the fourth light of this north window we see the arms of
Sir William Parr, whose advancement at the Courts of the S£ -
Tudor sovereigns was wholly due to the fact that his sister PL*t£ ' y
Katherine became Queen Consort to Henry VIII. But for
that event, he would have remained, like his ancestors, a coun-
try gentleman of ancient lineage, living a quiet life at Kendal
3
Heraldic Stained Glass
in Westmorland free from the plots and jealousies of Courts
and content with the petty state of a local kinglet. As things
turned out, however, he had his share of trouble, for he became
deeply involved in the ambitious designs of John Dudley,
Duke of Northumberland, and joined him in proclaiming the
unhappy Lady Jane as Queen on the death of Edward VI.
Tried for treason, convicted and sentenced to death on the
1 8th August 1553, he was attainted in blood and so lost all his
honours — the Barony of Parr and Ros of Kendal, the Earldom
of Essex, the Marquessate of Northampton and Knighthood of
the Garter. Perhaps, as probably in the case of the Duke of
Northumberland's sons (other than Guilford Dudley), Queen
Mary had never intended that the sentence of death on Parr
should be carried out; but, however this may be, he was re-
leased from prison on the 31st December 1553, and, in the
following month, he received a pardon. Part of his estates he
got back, but not his honours until the accession of Queen
Elizabeth brought him back to Court favour, and he was again
created Marquess of Northampton and Knight of the Garter
and made a Privy Councillor. The Barony of Parr and Ros of
Kendal and the Earldom of Essex were not, however, restored
to him.
This panel bears evidence, on the face of it, of the time
when it was painted, for the coronet is an Earl's, not that of a
Marquess. Its date must be between 23rd December 1 543 , on
which day Parr was created Earl of Essex, and 15th February
1546-7, when he was made Marquess of Northampton for the
first time : the Garter he originally received in March 1543.
With regard to the workmanship of this panel, the Garter is
formed of pot-metal blue glass with the motto, buckle and
pendant painted on yellow glass in black enamel. The arms
4
MORNING ROOM
PLATE 3
King Henry VIII
XVI century
Morning Room
on the shield are partly painted in enamel colours, the remain-
der being either pot-metal glass or done by the abrading pro-
cess. The Earl's paternal coat, Parr, two blue bars in a silver
field with an engrailed black border ', is followed by quarterings
derived from heiresses with whom his ancestors had married :
among them are the arms of the powerful North Country
Barons Ros of Kendal, gules, three water bougets silver, a family
which, towards the end of the fourteenth century, ended in an
heiress whose marriage to Sir William Parr, Lord of Parr in
Lancashire, brought the Honour and Castle of Kendal to the
Parrs. Then we have the coat of Fitzhugh — three chevronels
braced in base and a chief, all gold, in a blue field — which came
to the Parrs by the marriage of Elizabeth, heiress of Henry,
Lord Fitzhugh, to another Sir William Parr, grandfather of the
William commemorated in this interesting stained glass me-
dallion.
In the great bay window of seven lights is a varied and ex-
ceptionally interesting display of old English heraldry of the
fourteenth and fifteenth centuries — royal, ecclesiastical, baro-
nial and civic.
In the first light is a shield of mid-fifteenth century date
showing the arms of Edmund Lacy, who, after a distinguished
career, which commenced with the Mastership of University fi. A^BS0
College, Oxford, and included the Deanship of the Chapel
Royal and the Bishopric of Hereford, became Bishop of
Exeter in 1420 and held that See until his death in 1455.
It will be noticed that his family arms — three swans' necks
erased silver on blue — are impaled with the arms — a sword
crossed by two keys in a red field — a coat which is usually asso-
ciated with the See of Winchester — a sword in pale crossed by
two keys in saltire on red. This shield is happily composed : the
5
Heraldic Stained Glass
drawing of the swans' necks in the space available for them is
remarkably good, and the colours are rich and deep in tone.
Having regard to the date of this glass, circa 1420, it is,
necessarily, all pot-metal, the charges on separate pieces of
glass leaded into the field. Had it been a century later, it
would have been possible to have dispensed with all the lead
work except the central line and the border lines, the charges
being formed by abrasion in the manner already mentioned.
It is certain, however, that much of the rich, jewel-like effect
produced by the contrast of the solid black lead lines with the
transparent pieces of coloured glass would have been lost by
the change of process.
In the second light we see a very fine example of ancient
S2~9o- glass — a shield with the ancient arms of France — azure, semee
>TtC(' of fleurs-de-lis gold — a simple coat but difficult to render satis-
factorily from the artistic point of view by reason of its sim-
plicity. The modern draftsman will, too often, take infinite
pains to make the fleurs-de-lis all exactly the same in size and
shape : but the old men knew better. They understood the
value of variety without losing sight of harmony, and so the
charges are variously disposed in the field, though each charge
represents the same object.
This shield was painted about the year 1360 and, no doubt,
was one of a series comprising the arms of France, England
and barons of the fourteenth century. Its place of origin
is unknown, though it was, certainly, in England. Dagnam
Park in Essex was its last English home, where it was one of
a large collection of ancient painted glass got together with
much judgment and skill by Sir Thomas Neave, Baronet,
during the first quarter of the nineteenth century. It is,
however, not improbable that this shield may have been in
6
MORNING ROOM
PLATE 4
Sir William Parr
XVI centurv
S3.-
Morning Room
a window of the ancient manor house at Dagnam, demolished
about the end of the eighteenth century, when the present
mansion was built.
A fifteenth-century shield occupies the third light, a work of ^ „jg .3
quite exceptional interest both from the artistic and historical pcAT£
points of view. The glass is of high character, much pitted by
the effects of age, and the blue is of that beautiful ultramarine
tending to purple which one associates with the middle of the
fifteenth century. The drawing of the lions is excellent and
typical of the best work of the period, and the lead work is
cleverly arranged. This shield was one of a series, comprising
arms and badges, painted for Sir Roger Fiennes, a valiant
knight greatly distinguished in the French wars, one of the
heroes of Agincourt, and, in later years, Treasurer of the
Household of Henry VI.
The series was originally placed in the east window of the
Chapel at Hurstmonceaux Castle, when that house was built
by Sir Roger Fiennes about the year 1450. The arms in this
shield are those of Sir Roger Fiennes — three gold lions rampant
in a blue field — impaled with those of his wife Elizabeth Hol-
land— a lion rampant guar dant between ten fleurs-de-lis all silver
on blue.
At Hurstmonceaux all this glass remained until 1708, when,
upon the sale of the Castle by Thomas Lennard, Earl of Sussex,
whose ancestor Sampson Lennard had married the heiress of
the Fiennes family, it was removed from Hurstmonceaux, and,
eventually, found its way to the ancient house of Belhus, near
Aveley in Essex, where it was set up in the windows of the old
porch under the Great Tower.
The very splendid coat of Edward, Prince of Wales, com- n 0f 1 v ' fttr
monly called the Black Prince, in the centre of the window,
7
Heraldic Stained Glass
merits close attention. It shows the Royal arms of England —
France [ancient) and England quarterly — as used from about
1340 to 1405, with the silver label of three points, first used by
the Black Prince, which has, since his time, been the distin-
guishing mark of the Princes of Wales. These arms, in them-
selves merely the correct heraldry of the eldest son of the
English King for the time being, had a special significance for
the Black Prince, for, by his will, written in his own hand-
writing the day before his death in 1376, he draws a distinction,
in laying down precise directions as to his funeral and adorn-
ment of his tomb, between his * shields for War and Peace.'
His paternal coat he calls his shield ' pur la guerre ' and the
three ostrich feathers in a black field his shield ' pur la paix/
meaning that, in actual war, he had used his paternal coat of
arms, and for tournaments and similar sports of peace the
ostrich feather shield. Both these shields, each repeated eight
times in accordance with the Black Prince's will, are still to be
seen on his tomb in Canterbury Cathedral, clear evidence of
the real part which was played by heraldry in the lives of men
in the Middle Ages. The construction of this shield is re-
markable : note how the fleurs-de-lis are painted on lozenges
of yellow glass leaded into the blue, while the lions are on
oblong strips of yellow leaded-up with similar strips of ruby
between them. The boldness of design, whereby natural form
is accommodated to necessity of space, shown in the drawing
of the lion in the bottom of the third quarter of the shield, tells
of a master hand.
trQ. ~$d - f r^^ie sn^e^ °f France — three fleurs-de-lis only in a blue field,
. n usually called ' France modern ' to distinguish it from the
more ancient French coat of fleurs-de-lis without number—-
in the next light, is a fellow to the Fiennes shield already de-
8
MORNING ROOM
PLATE 5
Edmund Lacy
XV century
■
pafr*e.
John Grandison
XV century
Morning Room
scribed, is of the same date, and has a similar history. It, too,
came from the Chapel at Hurstmonceaux Castle to Belhus.
The quality and tone of the glass of which it is made are the
same as those of the Fiennes shield, and we need only note,
in addition, the correct spacing of the fleurs-de-lis in the blue
glass of the field.
Before leaving, for the time, the subject of Royal heraldry
in this window, we may notice the two examples of fourteenth-
century glass in the lower lights both showing France (ancient)
and England quarterly, and both, I think, belonging to the
reign of Edward III, although it is possible that the shield in
the fifth light may belong to Richard IPs time, but not later. ?L
The shape of these shields, long and kite-like, may usefully
be compared with the fifteenth-century shields in the top
lights of this window, for they illustrate the gradual change
through the centuries in shield shapes, those of the twelfth £~2
and thirteenth centuries being very long and narrow, those of
the fourteenth century slightly shorter and more bowed at the
sides, the fifteenth-century examples much shorter and wider
still, while, in the sixteenth and seventeenth centuries, the
original spade-like shape has almost been lost.
As to the places of origin of these two shields, that in the
left-hand light was originally in the great window of the Hall
at Ashridge in Hertfordshire, while that on the right was in
the collection made by the late Mr. Dendy Sadler, R.A., the
well-known painter of historical subjects.
Returning to the old glass in the upper part of the window,
there is a medallion of fifteenth-century date in the sixth light
with the arms of the City of Norwich — a castle with three plfrT
towers silver and a lion passant guardant gold in base, all in a red
field — on an ornamental shaped shield within a circular chaplet
b 9
Heraldic Stained Glass
with one of King Edward IV's badges — a sun in splendour — at
the top and a similar badge at each side.
As the Eastern Counties of England were strongly Yorkist
in sympathy during the Wars of the Roses, we can understand
why the citizens of Norwich adorned a panel of their arms
with Yorkist symbols. The coloured and richly diapered fill—
ings-in between the shield and the chaplet afford a note of
colour contrast — the red of the shield and the blue of the
fillings-in.
The original home of this panel was Costessey Hall, near
Norwich, and was, no doubt, placed there by Sir Henry Jer-
ningham, ancestor of the Lords Stafford, when he built that
house in Tudor days, as a compliment to his rich and influen-
tial neighbour, the City of Norwich.
j%2 -fo-6 The t0P °f tne last light is occupied by a fifteenth-century
"JB.& shield of the arms of Grandison — a family from which has
sprung many men distinguished in England's story for
prowess in arms and in learning. The original arms of Grandi-
son are paly of six, silver and blue, on a bend gules, three gold
eaglets, but when John Grandison became Bishop of Exeter, in
1327, he changed the middle eaglet on the bend to a gold mitre,
as we see it before us here. This shield, being of the fifteenth
century, cannot be contemporary with Bishop Grandison, who
died in 1369, and we may safely assume that it is one of a set
painted a century after his time. Bishop Grandison 's name
is held in benediction at Exeter for his extensive building
works in connection with the Cathedral ; the nave was com-
pleted by him with such grandeur of conception and craftsman-
ship that he felt impelled, when writing to Pope John XXII,
to say that, when completed, his cathedral should exceed every
other of its kind in England and France. Among his other
10
MORNING ROOM
PLATE 6
Kingdom of France
XIV century
I &
King Edward III
XIV century
J-9
Morning Room
works at Exeter he erected the Bishop's throne, that wonderful
sheaf of clustered pinnacles.
In the third window, one of two lights, Royal heraldry of the
Tudor period again greets us — a pair of shields of father and S& "
son, Henry VIII and Edward, Prince of Wales, that only son pL^Tlf Ij
from whose birth so much was hoped, and whose early death j^q^ -9 G *j/«2
threw England into the throes of disputed successions to the p^ 4 r df (Sl
crown and was one of the chief causes of much of the faction,
bitterness and ill-will which characterised English social life
for half a century after.
Wroxton Abbey, near Banbury in Oxfordshire, from the
great Hall of which these panels came, was rebuilt in 161 8 by
Sir William Pope, Baronet, on the site of a Priory of Augus-
tinian Canons founded in the time of King John. The Priory
buildings were destroyed by fire after the Dissolution, though
some slight remains are incorporated in the present house.
The Priory was sold in 1537 to William Pope of Dedington in
Oxfordshire, the ancestor of Thomas Pope, third Earl of
Downe, one of whose daughters and co-heiresses, Frances,
married Francis North, Baron Guilford, Lord Keeper of the
Great Seal, and so Wroxton Abbey was brought to the North
family. There can be no doubt that the painted glass of
Tudor times, including these panels, was transferred from the
older building to the Jacobean Hall in 161 8.
The design and workmanship of these two magnificent
panels are worthy of close attention. The exquisite detail and
clear definition of the Renaissance scroll work in which the
shield is set are remarkable to a high degree, while the clever
insertion of the fleurs-de-lis in the blue field of the arms of
France and the abraded work in the arms of England evidence
the utmost technical skill in the glass painter. If one may
11
Heraldic Stained Glass
draw comparisons between things which are all so beautiful, it
may, I think, be said that these two panels are the finest
examples of the glass painter's art in the collection. The de-
sign of the crowns is somewhat unusual in certain respects :
the crosses which rise from the circlets are not crosses patee,
but crosses fleuree, and instead of the usual cross on the orb
at top, we have a fleur-de-lis, variations which suggest that
the painter of this glass had a foreign training. This is as one
might expect, for there is every reason to believe that these
and their companion panels to be noticed later were painted
by Galyon Hone, a Flemish glass painter who settled in Eng-
land early in the sixteenth century and who in 15 17 was living,
with other artists in glass of Flemish nationality, in the Sanc-
tuary of St. Thomas of Canterbury in Southward. This place
of residence was selected by Hone and his friends as a refuge
against the legal proceedings which were constantly instituted
against them by the Company of Glaziers and Painters on
glass of London.
Jealousy of the foreigners, who were getting all the best
contracts for glass painting in London and its neighbourhood,
was the cause of these proceedings, and it was many a day
before peace between the foreign and native painters came
about. Galyon Hone was appointed King's Glazier in 15 17
on the death of Barnard Flower, himself an alien in spite of
his English-sounding name, and, in this capacity, he painted
the great windows at Hampton Court Palace — Royal arms and
badges with mottoes — all of which have long ago been dispersed,
and did much work at Westminster for Henry VIII . In com-
pany with other Flemings, he continued in 1527 the painted
windows, which had been begun by Barnard Flower, at King's
College Chapel, Cambridge, and the early sixteenth-century
12
MORNING ROOM
PLATE 7
Sir Roger Fiennes
XV century
Kingdom of France
XV century
52
Morning Room
heraldic glass at Chequers, near Wendover, presented to the
nation by Lord and Lady Lee of Fareham as a country house
for successive Prime Ministers of Great Britain, was also
painted by this master craftsman of the Tudor period.
13
Pl4T£ /3
r -
-fa
THE LIBRARY
N the first of the two three-light windows are
three panels of sixteenth-century glass, two
from Belhus in Essex with the arms of Barrett
quartering Belhus and Norris impaling Lovel,
and one from Cassiobury with the arms of Grey.
In speaking of the old glass in the Morning
iloom, which originally came from Hurstmonceaux Castle,
reference has already been made to the mansion of Belhus.
This ancient house and the park in which it stands have been
called Belhus from the earliest times, certainly for many a year
before Alice, the sister and co-heiress of John Belhus, the last
male of his house, married John Barrett of Hawkhurst in Kent.
From this marriage descended the long line of Essex squires,
Barretts and Barrett-Lennards, which has been seated at Bel-
hus to the present time. One of them, John, built the present
house at Belhus, on the site of the ancient Manor House, early
in the sixteenth century, and it is he, and the family of his
third wife Mary Norris, who are commemorated by the first
and third shields, both of early sixteenth-century date, in this
window. The first symbolizes the descent of the Barretts from
the ancient lords of Belhus, whose name was identical with
that of the manor which they held, while the third contains the
arms of Sir Edward Norris and Frideswide his wife, daughter
and co-heiress of Francis, Viscount Lovel — he who supported
Lambert Simnel against Henry VII and was slain at the Battle
of Stoke — parents of Mary Norris, John's third wife. Sir Ed-
ward Norris of Yattendon in Berkshire belonged to the same
family as the Norrises of Ockwells, or Ockholt, also in Berk-
shire, where their old hall is still standing with its windows
full of ancient heraldic glass of world-wide fame. The un-
usual setting of both these shields from Belhus is boldly de-
14
MORNING ROOM
PLATE 8
Edward the Black Prince
XIV century
The Library
vised, the inner ornamental work in grisaille heightened with
yellow stain contrasting with the coloured moulded outer bor-
ders of geometrical form, blue in the one and yellow in the
other.
The arms on the shield in the central light are those of S£-
Arthur Grey, 14th Baron Grey of Wilton, K.G., who, after an PL 4 T£ Ity
early military training and some years of service in the French
wars and in Border warfare against the Scots, was sent, in 1580,
as Lord Deputy to Ireland, taking with him the poet Edmund
Spenser as his Secretary. After two years of arduous and
thankless struggling with the difficulties of his position, he was
recalled, at his own earnest request, and retired to his house at
Whaddon in Buckinghamshire. There, for the remainder of
his days, he lived a retired life, a retirement unbroken except
by occasional visits from Queen Elizabeth and when he sat as
one of the Commissioners for the trial of Mary, Queen of Scots.
He was married three times, his second wife being Jane Sibylla,
daughter of Sir Richard Morrison, a marriage which accounts
for the finding of this panel at Cassiobury.
The arms on the shield in this panel, which is composed of
enamel painting and abraded ruby glass, are those of Grey of
Wilton — barry of 6 argent and azure, and a label gules y followed
by fifteen quarterings with the arms of some of the most famous
Baronial families of mediaeval times — Fitzhugh, Hastings,
Cantilupe, Braose, de Valence, Montchesney, Fitzosbert and
others.
In the second three-light window we notice three sixteenth- 9P-/ 2
century medallions, the first of which contains the arms of
Ratcliff, a famous family which looms large in the history of PL
Tudor times.
This shield is commemorative of the 5th Earl of Sussex,
J5
Heraldic Stained Glass
Robert Ratcliff, K.G., who married Bridget, daughter of Sir
Charles Morrison of Cassiobury.
He was not remarkable among the prominent men of his day
except for bravery as a soldier, and, had he not married into
the Morrison family, his arms would not have been found at
Cassiobury, or, probably, elsewhere other than in his own an-
cestral halls. From 1593, when he succeeded to the Earldom
of Sussex, to his death in 1629, ne was employed in various
military expeditions — in 1596 at the siege of Cadiz, the capture
of which town is said to have been largely due to his efforts —
and on ceremonial occasions, such as when he went to Scot-
land in 1594 as Ambassador Extraordinary to assist at the bap-
tism of James Fs eldest son Henry and to treat of other matters.
To his credit, be it said, he was a patron of literary men, while,
on the other hand, he is said to have ill-treated his wife Bridget
— a lady described by John Manningham, a diarist of the time,
as * a very goodley and comely personage, of an excellent pre-
sence and a rare wit.'
The Garter and some of the quarterings are enamel-painted;
the rest of the panel is in abraded work.
The second light contains a medallion from the cloisters at
Cassiobury with the arms of Capel — a lion rampant between
crosslets fitchee quartering the chevron and torteaux of Sir
Richard de Capele, set in a coloured chaplet and Renaissance
scroll work with the date 1553. The first member of the Capel
family of whom much is known is Sir William Capel, draper
of London who was Lord Mayor of that City in 1503 . To his
son, Sir Giles Capel of Raine in Essex, this panel, no doubt,
refers ; he was the lineal ancestor of Arthur, Lord Capel of
Hadham, who, in March 1648-9, sealed his life-long loyalty to
Charles I by laying down his life on Tower Hill. He married
16
MORNING ROOM
PLATE 9
The City of Norwich
XV century
The Library
Elizabeth, daughter and heiress of Sir Charles Morrison of
Cassiobury, and so we find the arms of his ancestor in the
cloisters there. The lions in the first and fourth quarters of
the shield are excellent examples of abraded work, and there is
much vigorous Renaissance decoration in the chaplet and car-
touche.
In the third light of this window is another panel from Cas-
siobury, a companion to that in the first light. The Garter and pc A "
several of the heraldic quarterings are in enamel colours,
though, like the Ratcliff shield, it contains some abraded and
pot-metal work. The arms are those of George Clifford, 3rd
Earl of Cumberland, K.G. — chequy or and azure, a Jesse gules —
with seven quarterings, among them the punning arms of
Flint — three white flints in a green field — and the Clifford
1 augmentation ' — three chain shot. This George Clifford,
born in 1558, had a natural inclination to the study of mathe-
matics and geography, which led him to take an interest in
navigation, then, so far as ocean sailing was concerned, in its
infancy. He became one of the most notorious of the Eliza-
bethan sea-dogs, fitting out, mostly at his own expense, one
expedition after another, some dozen in all, having for their
principal object the plundering of Spanish ships, especially
the Plate fleet, even in times of peace. Such doings were
esteemed meritorious rather than the reverse in the sixteenth
century, and so this Earl's buccaneering cruises did not pre-
vent him from making a brave show at Court, where his hand-
some person, engaging manners and ready wit commended
him to Queen Elizabeth. On one occasion it is said that the
Queen gave him one of her gloves as a mark of her esteem,
and he certainly wears a glove in his hat in the picture, after
Nicholas Hilliard, in the National Portrait Gallery. His con-
c 17
Heraldic Stained Glass
nection with Cassiobury was rather remote, but it seems to have
been thought sufficient to warrant the setting up of his arms in a
window there : it was confined to the fact that his father-in-
law, Francis, Earl of Bedford, married, as his second wife,
Bridget widow of Sir Charles Morrison of Cassiobury.
The four remaining windows, of two lights apiece, in the
Library contain sixteenth-century oval medallions — four from
the great hall window at Ashridge Park and four from the
cloisters, Cassiobury. The general design of all these beauti-
ful panels is the same, though they differ slightly in the detail
of their settings. The arms are painted on backgrounds of
elaborate cartouche work heightened with yellow stain and
enriched with touches of enamel colour. Three are dated, and
others bear the names of the families commemorated.
The story of Ashridge is soon told. In the year 1283
Edmund, Earl of Cornwall, brought to England some friars of
the Order of Bonhommes and settled them at Ashridge, on the
borders of Herts and Bucks. To this fraternity he gave his
Manors of Ashridge, Pitstone, Little Gaddesden, and Hemel
Hempstead and all that pertained to them, in particular ' the
close of the Park of the Manor of Ashridge within the parish
churches of the blessed Peter of Berkhamstead and Pitstone/
showing that there was a park at Ashridge in those early times.
At Ashridge, within the park, the Bonhommes made them a
dwelling with a great hall and Chapel, and there they lived
until the Dissolution of the Religious Houses by Henry VIII.
Thereafter, Ashridge remained the property of the Crown un-
til it was given by Edward VI to his sister, the Princess Eliza-
beth, who occupied the house until her accession to the throne,
and visited it, from time to time, all through her reign. By
Queen Elizabeth the estate of Ashridge — the ancient house of
18
MORNING ROOM
PLATE 10
King Edward III
XIV century
The Library
the friars with the park around it — was granted in January 1575
to John Dudley and John Ayscough, and they, in the following
month, conveyed the whole estate to Henry, Lord Cheney, and
the Lady Jane, his wife. The Cheneys held Ashridge until
1602, when it was granted to one Ralph Marshall, by whom, in
1603, it was conveyed to Randolph Crew and Thomas Cham-
berlain. In 1604 the mansion was bought by Thomas Egerton,
Baron of Ellesmere, Lord Chancellor of England, and one of
the greatest judges who have ever sat in the English Court of
Equity.
One of Lord Ellesmere 's descendants, an owner of Ashridge,
is worthy of a word of remembrance — Francis, 3rd Duke of
Bridgwater (173 6- 1802). He may be called the father of Brit-
ish inland navigation, for he devoted the whole of his vast re-
sources for several years — reserving for his own use four hun-
dred pounds a year only — to the construction of canals, one
from his estate at Worsley, Lancashire, to Manchester, which
was afterwards extended to the Mersey, and others connect-
ing London with Bristol, Liverpool and Hull, undertakings the
value of which to commerce before the era of railways can
scarcely be exaggerated. The Duke of Bridgwater devised
Ashridge to the second Earl Brownlow, in whose descendants
it remains.
It is not likely that the ancient house of the Bonhommes was
materially altered by its lay owners after the expulsion of the
friars, and we are, fortunately, able to gain a good idea of it as
it existed in 1790.
In The Topographer y Volume II (London, 1790), a book con-
taining valuable and detailed information about English topo-
graphy and genealogy, is an account of the history of Ashridge
and its owners, illustrated by an engraving of the old house.
J9
Heraldic Stained Glass
From these we learn that the house consisted of a great hall
with wings at each end and additional buildings on either side
of the wings.
Passing through the screens of the hall, the cloisters were
reached ; over them, and in the wings and other buildings,
were various rooms and galleries, the windows of which are
described as being full of coats of arms, most of which are now
in the windows at Ronaele Manor. The four medallions of
ancient glass from Ashridge now under consideration must
have been inserted, among many others, no doubt, in the win-
dows of the old house during the ownership of Lord and Lady
Cheney, and transferred on its demolition to the palatial man-
sion, still standing, then built on its site.
Taking these medallions in the order in which they are set in
the Library windows — the ornamental work on which the
shields are placed is of the same general type, and, in the first
two panels, it is identical in every respect. It is clear, therefore,
that they are companions, painted by the same hand and at the
same time.
The arms in the first panel are those of William Paulet, 3rd
Marquess of Winchester, impaled with those of his wife Agnes,
the elder daughter of William, Baron Howard of Effingham in
Surrey.
The Paulets, a family of ancient descent, were originally
settled at Paulet in Somersetshire. One of them, Sir John
Paulet, married, towards the end of the fourteenth century, the
heiress of a Devonshire knight, Sir John Creedy of Creedy, a
match which seems to have laid the foundations of the fortune
of the house. From the elder of Sir John Pauleys two sons
descended the Earls Poulett , and , from the younger, the Dukes of
Bolton (a title now extinct) and the Marquesses of Winchester.
20
MORNING ROOM
PLATE ii
Edward, Prince of Wales
XVI century
The Library
The Paulets became one of the most prominent families of
Tudor times, and, in the person of Sir Amias Paulet, the
trusted servant of Queen Elizabeth, to whom was granted the
custody of Mary of Scotland after the discovery of the plot to
free her from Tutbury, and in that of Sir William Paulet,
who, as he himself said, ' by being a willow, not an oak,' man-
aged to remain in favour at Court and to retain the high office
of Lord Treasurer of England during the reigns of Edward VI,
Mary I, and Elizabeth, both branches of the family continued
to flourish and grow rich all through that difficult period.
The determination of the abeyance of the ancient Barony of
St. John of Basing and Poynings in favour of Sir William
Paulet, in 1539, was the first step in his uniformly successful
career, and, in 155 1, he was created Marquess of Winchester
and made a Knight of the Garter. By his marriage with Eliza-
beth, one of the daughters of Lord Mayor Capel, ancestor of
the Capels of Cassiobury , a connecting link between that house
and Ashridge was established, and we shall see in the bay
window of the Stair Hall a shield of his arms from Cassiobury.
The shield now before us is that of his grandson, William ^ *2L - 9d
Paulet , third Marquess of Winchester . He was rather a man of p^ * \g } &
letters and leisure than an ambitious politician and frequenter
of the Court, and he is, chiefly, remembered as one of the many
courtly versifiers of his day. The arms on the shield are those
of Paulet — three swords in pile on a black field — followed by
fifteen quarterings, among which we may distinguish the arms
of Creedy in the second quarter and those of Poynings and
St . John in the fifth and ninth quarters . This splendid array of
heraldry is impaled with the arms of Howard and fifteen quar-
terings for the Marquess's wife, Agnes, a daughter of William,
Lord Howard of Effingham, K.G., the famous Lord High Ad-
21
Heraldic Stained Glass
miral. Noteworthy in the Howard arms is the tiny shield on
the bend bearing a demi- lion pierced with an arrow within a tres-
sure of Scotland, an augmentation of merit granted to the grand-
father of the Marchioness, Thomas, Earl of Surrey, afterwards
Duke of Norfolk, the leader of the English forces at Flodden
Field, and his descendants, in remembrance of the signal victory
over the Scots won in that the last of the great border fights be-
tween England and Scotland . The third Marquess of Winchester
died in 1598, and we find his coat of arms and that of his wife
in the windows of the old house at Ashridge in 1578. The
writer of the article upon Ashridge in that interesting old book
The Topographer describes this medallion which he saw in
1790 — ' the arms of Powlet with quarterings, impaling How-
ard and quarterings, and with the date 1578/
With regard to the construction of this shield, it will be
noticed that it was made up of four pieces of glass upon which
the various coats of arms were painted in enamel colours.
This plan was adopted by the Elizabethan glass painter to se-
cure clear definition of the heraldry, for, if he had used the
ancient pot-metal process — each colour on a separate piece of
glass of its colour — the amount of lead work required would
have been so great as to make it difficult to avoid confusion be-
tween the arms in the small space at his disposal.
The shield in the next light is painted by the same process
and also bears the date 1578. The arms are those of Knolles of
Oxfordshire — azure , crusilly and across moline voided gold —
quartering three red roses on a silver chevron in a red field , for
Knolles of Lincoln.
Like so many English families of ancient descent, the for-
tunes of the house of Knolles were laid by a distinguished
Londoner, Sir Thomas Knolles, Citizen and Grocer, who,
22
MORNING ROOM
PLATE 12
King Henry VIII
XVI century
The Library
upon two occasions, in 1399 and 1410, was Lord Mayor of
London. Sir Thomas is best known in the history of the City
as the rebuilder of the Guildhall and of the Church of St.
Antholin in Watling Street, London, in which church he is
buried. It is probable that Sir Thomas was a nephew of Sir
Robert Knolles, that great military commander who made such
havoc among the French in the wars of Edward III, he who is
described by Froissart as ' the most able and skilful man of
arms in all the companies/ though he seems to have been
somewhat of a freebooter, fighting rather for his own hand and
for his own enrichment than for his Sovereign's benefit.
The great grandson of the Lord Mayor, Robert Knolles,
seems to have begun that long association of his family with
the English Court of which the late Sir William Thomas
Knollys, K.C.B., P.C., Treasurer of the Household to the late
King Edward VII when Prince of Wales, and who died Gentle-
man Usher of the Black Rod in 1883, was a conspicuous ex-
ample. Robert Knolles 's first appointment at Court was made
in 1488 when he became Gentleman-in- Waiting to Arthur,
Prince of Wales : in 1500 his name appears as one of the Ush-
ers of the Royal Chamber, an office which he held for many
years. The tradition of Court service was carried on by his
sons Francis and Henry, both of whom were in constant em-
ployment during the reigns of Edward VI and Queen Eliza-
beth.
There is no doubt that the shield of the arms of Knolles in
this window refers to Robert's son, Francis, who was in high
favour at Court, and must often have visited Ashridge in at-
tendance on the Queen.
Francis Knolles, born about 15 14, had a busy and not alto-
gether uneventful life at Court, in the course of which he
23
Heraldic Stained Glass
occupied various lucrative offices — Chamberlain of the Royal
Household and Captain of the Halberdiers amongst them. He
was made Privy Councillor in 1558 ; in 1566 he was sent to Ire-
land to help in pacifying the country, but with little effect ; and
in 1568, when Mary, Queen of Scots, sought protection in
England, she was put under his wardship at Carlisle Castle,
and, subsequently, at Bolton Castle and Tutbury. Sir Francis,
who was created Knight of the Garter in 1593 , and who, in the
course of his life, acquired by grant from the Crown several
valuable manorial estates, among them Rotherfleld Greys, near
Henley, and Caversham, both in Oxfordshire, and Cholsey in
Berkshire, died in 1596, leaving his large family of sons to
carry on the Knolles tradition of Court service. All of them
were in high favour with Queen Elizabeth and prominent fig-
ures in Court life during her reign. One of them, William, may
be said to have stepped into his father's shoes on his death.
The Queen extended to him the same confidence which she
had uniformly shown in his father and made him Controller of
her Household and a Privy Councillor. * One that appertain-
ed to us in blood,' she called him when he was sent on a mis-
sion to James VI of Scotland. Honours — Baron Knolles of
Rotherfleld Greys, Viscount Wallingford and, finally, Earl of
Banbury and Knight of the Garter — and offices — Commis-
sioner of the Treasury, Master of the Court of Wards and many
others — rewarded his services to Elizabeth and James I. He
died in 1632, leaving behind him, in the circumstances attend-
ant upon the birth of his two sons, the materials for one of the
best known of the many romances of the Peerage.
All the heraldry which we have, hitherto, seen in these win-
dows has been reminiscent of prominent statesmen, soldiers
and courtiers of the fifteenth and sixteenth centuries. We come
24
LIBRARY
PLATE 13
John Barrett of Belhus
XVI century
The Library
now to a shield of the arms of Sir Edward Coke, who, although
he is best known as an eminent lawyer, was also a great patriot
and vindicator of public right against excess of kingly pre-
rogative. Called to the Bar in 1578, he speedily distinguished
himself as a learned lawyer and effective advocate. Soon he at-
tracted the notice of Lord Burghley, ever on the look-out for
budding talent, and, in 1592, he was appointed Solicitor Gene-
ral, and Attorney- General in the following year. It is likely,
too, that his wealth, derived from his father and from the
dowry of thirty thousand pounds which he received with his
first wife, Bridget Paston, was a factor in his rapid rise to emi-
nence : at least, it tended to preserve him from temptation to
crooked ways in a corrupt age and to retain that independence
which characterised all his actions.
There was no break in his successful career in the early part
of the reign of James I, for he was appointed, successively,
Chief Justice of the Court of Common Pleas and Lord Chief
Justice of England. The uprightness and impatience of inter-
ference by king and courtiers with the judicial Bench which he
showed as Chief Justice was not, however, to the taste of King
James, the Prince of Wales and Buckingham, and so, in 161 6,
he fell into disgrace at Court, and was deprived of the Chief
Justiceship.
The remainder of his public life was wholly concerned with
maintenance of the rights of the people against encroachments
upon them by the Stuart Dynasty. In 162 1 he was committed
to the Tower of London for supporting the privileges of the
House of Commons, and, so fearful was the Court party of his
influence in public affairs, that an attempt was made in the
first year of Charles I to prevent him from sitting as member
of Parliament for Buckinghamshire, where he lived, by the
D 25
Heraldic Stained Glass
curious device of appointing him Sheriff of that County. How-
ever, he was elected in 1628 as member for Bucks, and strongly
supported the Commons in their struggles with the King : one
of his last public acts was the framing of the famous Petition of
Right.
In 1633 Coke died at his house at Stoke Poges in Bucks, and
was buried at Tittleshall Church, Norfolk, under a splendid
altar tomb bearing his effigy clad in his robes as Lord Chief
Justice of England.
In this shield, the heraldry of which is painted in enamel
c$0~jn colours, with richly varied yellow stain, the arms of Sir Ed-
p^ft7L£( ward Coke— party per pale gules and azure , three silver eagles
displayed— together with three quarterings, are impaled with
the arms of Cecil with five quarterings. This impalement sym-
bolizes Coke's marriage with his second wife Elizabeth, daugh-
ter of Thomas Cecil, first Earl of Exeter, and widow of Sir
William Hatton, a marriage which turned out unhappily, and
eventuated in 161 6 in the lady's refusal to live with her hus-
band.
The next panel is a companion, in every respect, to the one
last described. It commemorates the marriage in 1564 of
PL 'ATg'Ji' Thomas Cecil, afterwards first Earl of Exeter, to Dorothy, a
daughter and co-heiress of John Nevill, Lord Latimer, a lady
who is described, at the age of fifteen, by her brother-in-law,
Sir Henry Percy, in a letter to Sir William Cecil, as * so good
and vertuous, as hard it is to find such a sparke of youth in this
realme.'
This Thomas Cecil, the ancestor of the Marquesses of Exe-
ter, was the eldest son of the great Lord Burghley. After a
somewhat wayward youth, which occasioned great anxiety to
his grave father, he settled down to domestic life, and little is
26
LIBRARY
PLATE 14
Lord Grey of Wilton
XVI century
The Library
heard of him for some years after his marriage. He earned the
praise of the Commander-in-Chief, the Earl of Sussex, for
voluntary service during the suppression of the Catholic Rising
of 1569. Again, as a volunteer, in Scotland in 1573, he was
present at the Siege of Edinburgh. He was active in promoting
the pageants and festivities which were a marked feature of
Queen Elizabeth's memorable visit to Kenilworth Castle,
described so vividly by Sir Walter Scott in Kenilworth. He
saw military service in the Low Countries and was Governor
of the Brill from 1585 to 1587. As his father's representative
while the old statesman lived, he saw to the building and fur-
nishing of Burghley House, which afterwards became his own
and the principal seat of the Earls and Marquesses of Exeter,
his descendants, until the present time. During his father's
lifetime he had but little advancement in the political world,
and it is supposed that Lord Burghley himself stood in his
son's way. This idea receives some confirmation from the fact
that, soon after Lord Burghley 's death, which brought him,
besides Burghley, large estates in Rutland, Lincolnshire and
Northamptonshire, he received many marks of the Queen's
favour — the most important of which was his appointment as
President of the Council of the North, an office of considerable
importance, and one requiring constant vigilance against re-
newals of Catholic hostility to the Elizabethan settlement of
religious affairs. Severity in enforcement of the penal laws
against Catholics marked his tenure of office in the North : he
swept the country for missals, other books of Church offices
and vestments, and, by the imposition of heavy fines, forced
the weaker ones to attend the new services in their Parish
Churches.
When James VI of Scotland became King of England, he
27
Heraldic Stained Glass
was entertained, on his way south, with great magnificence at
Burghley, hospitality which was eventually rewarded with the
Earldom of Exeter and other offices.
Dorothy, Countess of Exeter, died in 1609, and Earl Thomas
married in the following year Frances Brydges, daughter of
Lord Chandos, who survived him by many years. He died in
1623 : his tomb, with his effigy and that of his first wife —
space being left for the figure of his second wife, who is, how-
ever, not buried with him but in Winchester Cathedral — may
be seen in the Chapel of St. John the Baptist in Westminster
Abbey.
It will be noticed that the arms of Nevill on this shield, like
those of the Marquess of Winchester in another window of this
room, are painted in enamel colours on white glass ; this was
done for the same reason as that for which the enamel process
was adopted for the Winchester shield — on account of the
number and complication of the various quarterings.
In the next two-light window we come to another pair of
\j3/ 9&~) / companion medallions of the sixteenth century. The shield
on the first of these, painted mainly on abraded glass, bears the
arms of Manners — two golden bars in a blue field and a chief
quarterly azure and gules, in the first and fourth two fleurs-de-lis
and in the second and third, a lion passant guardant all gold —
followed by fifteen quarterings, which are but a selection from
the many coats which the family of Manners is entitled to
quarter, and was so even as far back as the sixteenth century.
The fleurs-de-lis and lions in the chief, which, originally, was
plain red, commemorate in interesting fashion the marriage
of George Manners, Lord Ros, father of the first Earl of Rut-
land, with Anne St. Ledger, whose mother was the Princess
Anne, sister of King Edward IV.
28
LIBRARY
PLATE i;
Sir Edward Norris
XVI century
The Library
As this shield comes from the windows of the cloisters at
Cassiobury, we must seek for some family alliance between the
Manners family and that of the owners of that estate, which
may explain its presence there.
There were two marriages between Manners and Capel,
both before the marriage of Arthur, Lord Capel, with Eliza-
beth Morrison which brought Cassiobury into the Capel family.
Sir Henry Capel, grandson of the Lord Mayor, married Anne,
sister of Thomas Manners, first Earl of Rutland ; and his
nephew, another Sir Henry Capel, married Katherine, daugh-
ter of the same Earl. It is likely that the last mentioned of
these alliances was the one that gave occasion for the painting
of this shield. The Capels, at the time of that marriage, were
seated at Raine, near Braintree, in Essex, and we may reason-
ably surmise that the original home of this coat of Manners was
the Old Hall at Raine, and that it was brought thence to Cas-
siobury when Arthur Capel married the Morrison heiress.
The last and eighth panel from Cassiobury in the Library
contains the arms of Clinton — six crosslets fitchee sable in a sil- &3-
ver field and a blue chief with two golden mullets pierced — quar- pLATE^M
tering the coat of Say — quarterly or and gules — a record of the
marriage of John, Lord Clinton, a great soldier in the days of
Edward III, with Idonea Say, the eldest co-heiress of her
brother William, Lord Say. These are the arms of Henry
Clinton, second Earl of Lincoln, whose marriage with Eliza-
beth, daughter of Sir Richard Morrison of Cassiobury, a second
marriage for both husband and wife, affords a sufficient
explanation for the finding of this coat of Clinton at that
mansion.
In this instance, the simplicity of the arms of Say enabled
the painter to use the ancient pot-metal process, while, in the
29
Heraldic Stained Glass
case of the arms of Clinton, as pronounced colour was con-
fined to the chief, he employed enamel colours for the painting
of that coat.
In the last two-light window in the Library are two more
medallions from Ashridge — one with the shield of Dudley, and
the other containing the arms of Wentworth of Wentworth
Woodhouse in Yorkshire.
The fine left-hand oval contains the arms of Ambrose Dud-
ley, Earl of Warwick, and his third wife, Anne Russell, with the
Pl-ftT& ^k date 1578. The twenty-four quarterings which comprise the
impaled shield are made mainly by the process of abrasion on
pot-metal glass, and the medallion has — in addition to the Re-
naissance strap work cartouche — two heraldic supporters, a
goat and the chained bear of the Dudleys. The device carved
on the wall of the Beauchamp Tower during the imprisonment
of the five brothers in the Tower of London includes a bear
and a lion supporting the ragged staff, with the name ' John
Dudle ' below. This design is surrounded by a chaplet of
roses for Ambrose, oak leaves for Robert (robur — an oak), gilly-
flowers for Guilford, and honeysuckle for Henry. The whole
is enclosed within a square moulded border, and at foot is an
inscription, only partly legible, explanatory of the design.
There is little to tell of Ambrose Dudley's career, and the
little there is, is due more to Queen Elizabeth's favour than to
his own merits.
Thus he was given the command of the English Expedition-
ary Force sent by the Queen in 1562 to the aid of the French
Huguenots, a project which failed, but not owing to any fault
on Warwick's part ; he did not distinguish himself, but, on the
other hand, he did nothing blameworthy.
In his later years he was created a Privy Councillor and
30
LIBRARY
PLATE 1 6
Robert Ratcliff, Earl of Sussex
XVI century
The Library
Lieutenant of the Order of the Garter and he was a member
of the tribunal which tried Mary, Queen of Scots, in 1586 : in
1590 he died.
As often happens in such cases, we cannot be absolutely cer-
tain why Ambrose Dudley's arms were set up at Cassiobury.
He was not directly connected by blood or marriage with the
Morrisons or Capels, and it may be that he owed the compli-
ment merely to the fact that he was in waiting on the Queen on
the occasion of one of her many progresses through the Home
Counties which took her by way of Cassiobury. It is, however,
possible that indirect relationship by marriage may have been
the cause, for the second wife of his father-in-law, Francis
Russell, Earl of Bedford, was the widow of Sir Richard Mor-
rison, first secular owner of Cassiobury.
In the splendid fifteenth-century chapel, commonly called
the Beauchamp Chapel, at St. Mary's Church, Warwick, Am-
brose Dudley lies entombed under an arched monument of
Renaissance character, a marked contrast, from the architec-
tural point of view, to the tomb in the same chapel commemo-
rative of its munificent founder, Richard Beauchamp, Earl of
Warwick, * the good Earl.'
The panel with the arms of Wentworth and nineteen main j-n «. f# „ .
quarterings has a special interest, because its presence in the
windows of the old house at Ashridge is so easily explained, and
its connection with the sixteenth-century owners of the house
is so very clear.
The arms are those of Sir Thomas Wentworth, Lord Went-
worth, Lord Chamberlain to Edward VI, the father of Jane,
Lady Cheney, who, as we have seen, was the wife of the owner
of Ashridge in 1578, when these panels of heraldic glass were
set up there. This Lord Wentworth was a distinguished man
31
Heraldic Stained Glass
in his day, and came of a stock settled at Wentworth for gene-
rations. The Wentworth arms on the shield — sable, a chevron
between three leopards' faces or — are followed by the coats of
many of the most famous of the mediaeval barons of England,
Montfitchet, Fitzwarren, Tiptoft, Badlesmere, Nevill, Holland
and de la Pole, to mention a few only, every one of which recalls
some stirring scene in English history.
This Lord Wentworth, like so many of the sons of the great
landed families through the centuries, completed his educa-
tion as a student at one of the Inns of Court, in his case, Gray's
Inn. There, in the great bay window of the Hall, we see to-
day a shield of his arms, almost identical with the shield
before us, but differing slightly in the quarterings and in the
ornamental work in which it is set ; and, in an ancient list of
the lords spiritual and temporal admitted to Gray's Inn from
the eleventh year of Henry VIII to the fifth year of Queen
Mary, his name appears under the description Dns Wentworth.
32
LIBRARY
PLATE 17
Sir Giles Capel
XVI century
THE LIVING ROOM
HE upper lights of the two bay windows in this
room are filled with heraldic panels from the
Great Hall at Wroxton Abbey, all painted in the
first half of the sixteenth century, and probably
the work of Galyon Hone — the ' Kynge's Glass-
yer ' — to whom we have already referred in
speaking of the large Royal panels in the Morning Room, or of
one of his Flemish companions settled in London.
The First Bay Window
The arms of Henry VIII in the left-hand light claim atten- -.^ , ^ <*
tion for the uniformly high character of the work throughout
the panel. As in other examples of the Royal arms which we
have admired at Ronaele Manor the blue fields of the first and
fourth quarters have been drilled to take the small pieces of
yellow glass on which the fleurs-de-lis are painted and the
golden lions of England are ground off or abraded from ruby
glass. The highly ornate shape of the shield, with its scroll
work at top, at foot and at the sides, should also be noted, and
the delicate character of the Renaissance detail in the large
clasps through which the encircling chaplet runs merits atten-
tion. The fine crown which surmounts the shield is of the
same pattern as those above the Royal arms in the Morning
Room, sharing with them the unusual feature of ' crosses
fleuree ' instead of ' crosses patee ' on the circlet.
The next light contains the arms of the family of Erlye,
variously spelt, like many names in ancient times, Erly, Erley, g
Erlegh or Erie — a fret and a canton, both sable, on a silver field
— impaling the arms of Clederowe — sable, a chevron embattled FL A 7i£~ gjg>
between three eagles displayed silver. Here again the delicacy
of the setting is a marked feature, in particular the rich colour-
E 33
Heraldic Stained Glass
ing of the clasps, and a point to be noted is the pretty fashion
in which the twisted ribbons which form the four narrow bands
round the chaplet are finished off.
The glass painter had a comparatively simple task in paint-
ing this shield, for, as both coats were in black and white, each
could be painted on a single piece of white glass : as a contrast
to the simplicity of the shield he threw all the colour and refine-
ment of design possible into its admirable setting. Both these
coats of arms were quartered by the Paulet family, and we
shall meet with them in that connection in the next window.
- </6 In the third light we come again to Royal heraldry — the
41% £ ? arms °f Henry VIII crowned within the Garter. Once more
we must commend the craftsmanship in the lead work of the
first and fourth quarters of the shield and the excellent finish
of the abraded coloured glass. Special attention may be called
to the boldness shown in designing the buckle of the Garter
and the charming work in the pendant.
The fourth light shows a panel — a replica, except for the
3 8 heraldry, of the Erlye panel — which contains the arms of an-
other famous man of the Tudor period, Thomas Audley, Lord
Chancellor of England, who died in 1543. This fine shield
with its striking colouring and golden * eagles displayed ' and
its bend charged with a fret between two martlets, is all rendered
in pot-metal glass, the painting throughout being of the very
highest quality.
Thomas Audley, born at Earls Colne in Essex in 1488, after
a successful career as a lawyer, became Lord Chancellor, and
succeeded in obtaining large grants from the forfeited estates
of the religious houses . Among these was the mitred Benedic-
tine Abbey of Walden, in Essex, one of the richest of the English
monasteries. About the same time he was created Baron
34
LIBRARY
PLATE 1 8
George Clifford, Earl of Cumberland
XVI century
' 1?
The Living Room
Audley of Walden, taking up his abode in the Abbot's house
at the Abbey. He died in 1543 and lies buried in the Audley
Chapel, which he had built in his lifetime at Saffron Walden
Church, under a splendid monument adorned with his her-
aldry. Lord Audley was one of the few leading men of Tudor
days who held office continuously through the troublous times
which followed the fall of Cardinal Wolsey. He retained the
confidence of Henry VIII to the end, avoiding the danger of
partisanship in Henry's matrimonial tangles and adapting him-
self to the King's doings in religious affairs.
As a contrast to the many stories which are told of Lord
Chancellor Audley 's avarice and of the legal chicanery to
which he resorted in the piling up of his great fortune, it is
pleasant to remember that he was the founder of Magdalene
College, Cambridge, which still bears his arms, devoting to
that purpose the site of a hostel for Benedictine students on the
north bank of the Cam, which had been founded by Edward
Stafford, Duke of Buckingham, and, on his attainder and exe-
cution in 1 52 1, had passed to the Chancellor. An interesting
point to note is that the appointment of the Master of Magda-
lene College is still vested in the owner for the time being of
Audley End.
Lord Audley 's immense wealth passed to his only child
Margaret, Duchess of Norfolk, whose son Thomas Howard
was successively created Lord Howard of Walden and Earl of
Suffolk. He it was who demolished the Abbey buildings and
set up on their site the magnificent palace which he named
Audley End, a part only of which exists to-day, but that part
in itself one of the finest examples of early seventeenth-century
domestic architecture left in England.
In the last light of this window we see the arms of Queen
35
Heraldic Stained Glass
Katherine Parr, royally crowned and set in a blue chaplet with
* 31 wine-coloured clasps and green bands of the same character as
its companion panels. The Tudor Royal arms, for Henry VIII,
impale those of his Queen, and in the first quarter of her coat is
shown the augmentation of honour granted to her on her mar-
riage to the King — a red pile charged with three white roses be-
tween six red roses, followed by her paternal arms, two blue bars
on a silver field with a black engrailed border and the coats of
Ros, Marmion, Fitzhugh and Green.
The Second Bay Window
The first light on the left contains the arms of Paulet quarter-
ing those of Ros, in this case with a red field, Poynings, St.
John, Strange, Hussey, Leicester, Erlye and Delamere, set in a
coloured chaplet of the same design as that in the shield of
Henry VIII and Katherine Parr. It will be noticed that the
arms of Paulet in this shield bear a slight addition to the Paulet
arms as shown in the window of the Library — a little crescent
— a mark of cadency to indicate descent from a younger son.
It is probable that the Paulet to whom this shield refers was a
member of that branch of the family which became owners of
Edington in Wiltshire, after the attainder and execution of Sir
Thomas Seymour, Baron Seymour of Sudeley, Lord High Ad-
miral of England and fourth husband of Queen Katherine
Parr.
The Church at Edington had originally belonged to a col-
lege or monastery of the Bonhommes, of which religious order
we heard in connection with Ashridge. Upon the dissolution of
their house at Edington it was granted to Lord Seymour of
Sudeley. The Paulets built a splendid house on the site of
the demolished monastery which, in the course of time, was
36
LIBRARY
PLATE 19
William Paulet, Marquess of Winchester
XVI century
The Living Room
allowed to fall into a ruinous condition. Ultimately what
remained habitable of it was incorporated with a farmhouse
which still retains ancient panelling and other features from
the old mansion.
We shall not be far wrong if we assume that this panel with
the arms of Paulet was originally set up, with others, in the
Paulets' great house at Edington, and that with many of its ^
companion panels it ultimately found its way to Wroxton after 'L
Edington had fallen into decay. When this removal took place
must remain uncertain, but it is likely that it was during the
seventeenth century, after Wroxton had passed to the Norths
by the marriage of Lord Keeper North to the heiress of the last
Earl of Downe. The colour work in this shield is in pot-metal
glass finished by the process of abrasion, and the spacing of
the charges is extremely well arranged.
In the second light is a shield bearing the arms of Paulet,
with the crescent, impaling those of Clederowe. There is no
positive colour in these arms, so the painter was able to dis-
pense with lead work, except for the dividing line down the
centre of the shield. As in other similar cases, the fine colours
in the setting afford a happy contrast to the black and white
of the arms. The design of the Renaissance work of the clasps
is well defined and has a pretty and quaint feature in the amo-
rini sitting astride on wine casks. It is of the same pattern as
we see in the fourth light of this window, with a slight addi-
tion, the motto SERVA EADEM on the cartouche below the
shield.
The panel with the arms of Edward, Prince of Wales, in the
third light is identical in the design of the chaplet with those in
the last light in the first window, and the first and fifth in this
window, a noticeable feature being the purple clasps enriched
37
Heraldic Stained Glass
with yellow stain. The Prince's coronet with which the arms
are ensigned is well drawn and exhibits the peculiarity to which
reference has already been made, the shape of the crosses on
the circlet suggesting a Flemish training of the designer. Here,
too, the construction of the shield shows that clever and con-
scientious work, the insertion of the fleurs-de-lis in holes
drilled in the glass, and the high character of the abraded work
resembles that which we have noticed in other examples of the
Tudor Royal arms at Ronaele Manor.
In the fourth light is another shield of the same young Prince —
afterwards King Edward VI — but without his coronet, which is
— in its Renaissance ornament — similar to the medallions with
the arms of Paulet and Clederowe in the same window, and, like
it, exhibiting the highest possible degree of skill in the glass
painter . The panel in the fifth light contains the arms of the family
of Seymour and might apply to any member of that family not
descended from Sir John Seymour, the father of the Queen,
for all his descendants are entitled to quarter the augmentation
of honour granted to Jane Seymour on the occasion of her
marriage to Henry VIII. This augmentation, which is absent
from the shield before us, was granted to the Queen in the year
1536, so that the shield probably refers to one of her brothers
alive before that date. She had three brothers only who lived
to maturity — Edward, afterwards the famous Lord Protector,
Henry, and Thomas, afterwards created Lord Seymour of
Sudeley. The latter came into possession of Edington early in
the second quarter of the sixteenth century, and it is to this
brother of the Queen to whom we can with any degree of prob-
ability ascribe these arms. The fact that he was the fourth hus-
band of Queen Katherine Parr, the setting of whose arms in
the adjoining bay window is identical with the setting of this
38
LIBRARY
PLATE 20
Sir Francis Knolles
XVI century
4 -?
The Living Room
panel, carries this ascription almost to certainty, so we may
regard some of the panels in this room as having been origin-
ally painted for Lord Seymour of Sudeley and for members of
the Paulet family during the lifetime of Henry VIII.
After the arms of Seymour — a pair of golden wings conjoined Jfe?
on a red field — in this shield follow four quarterings : Beau-
champ of Hache, Esturmy, Macwilliam and Coker. The wings
in the Seymour coat are abraded from the ruby glass, as are
also the lions of Esturmy and the roses of Macwilliam in the
third and fourth quarters, and the leopards' faces in the coat
of Coker in the last quarter of the shield. The counter-chang-
ing in the colour of the roses in the arms of Macwilliam may be
noted as an example of clever craftsmanship.
39
THE DINING ROOM
Bay Window
HE seven lights in the upper tier of this win-
dow are, with the exception of that in the cen-
tre, filled with heraldry from the windows of
the Gallery at Wroxton Abbey.
The first three, the fifth and the sixth medal-
lions refer to the ancient family of Hungerford ;
in the central light is a shield of the arms of Edward, Prince of
Wales, afterwards King Edward VI, and the last light is occu-
pied by the arms of Henry Courtenay, Marquess of Exeter.
The Hungerford panels are of the same design, and it is cer-
tain that they were all painted by the same hand and at the
same time. While their style proclaims them to belong to the
sixteenth century, some of the persons commemorated by them
died before that time. It is highly probable, therefore, that
they belonged originally to a series of panels setting forth, in
heraldic language, the alliances of the Hungerford family over
a long period.
These medallions are, undoubtedly, the work of an English
glass painter ; the clasps through which the oak-leaf chaplets
run are simple in design, lacking the intricacy which charac-
terizes the work of Galyon Hone and his fellow painters of
Flemish extraction, and the ornamental settings are kept strict-
ly subservient to the heraldry. Again the ancient pot-metal pro-
cess is used as far as possible in the construction of the shields :
there is no enamel work in them. Altogether these heraldic
medallions admirably exemplify the character and methods
of the best English school of glass painting in Tudor times.
In the first light is a shield with the arms of Sir John Hun-
gerford and those of his first wife, Bridget Fettiplace.
40
LIBRARY
PLATE 21
Sir Edward Coke
XVI century
The Dining Room
The Hungerford family looms large in the history of Wilt-
shire from the thirteenth century to Stuart times, and is still
represented in the squirearchy of that county . The first member
to make a name in Wiltshire was Walter of Hungerford in
Berkshire, who married Maud, the daughter and heiress of
John, Lord of Heytesbury, now a small market town between
Salisbury and Warminster, but once of more importance, for
it returned a member to Parliament. With his wife, Maud,
Walter acquired the Manor of Heytesbury, and his grandson,
Walter, added to the family possessions by marrying Eliza-
beth, the heiress of Sir Adam Fitzjohn, who brought to him
the Manor of Cherhill in Wilts. His son, Sir Thomas Hunger-
ford, has the distinction of having been the first Speaker of the
House of Commons mentioned in the Rolls of Parliament : he was
Speaker in 1376 and represented his native county in Parliament
for over thirty years . Sir Thomas , having bought the Manor and
Castle of Farley in Somersetshire, it came to be called, as it is
to this day, Farley Hungerford, and his descendants in the
elder line made it their chief place of residence. Sir Thomas
died in 1398 and was buried in the chapel at Farley Castle ;
by his second wife, Joan, one of the co-heiresses of Sir Edmund
Hussey of Holbrook,he had four sons, of whom the three eldest
died without issue in his lifetime, leaving the fourth son, Wal-
ter, as his successor and heir to all his many lands and manors.
Of this Walter, who grew to be the most distinguished of all
the Hungerfords, we shall hear presently. Here we will only
note that he bought the Manor of Downe Ampney in Wilts,
and settled it on his third son, Sir Edmund Hungerford, whose
descendants lived there for many generations. One of them
was the Sir John Hungerford whose arms, with those of his
wife Bridget Fettiplace, are on the shield before us.
f 41
Heraldic Stained Glass
A peculiarity of the Hungerford family is the fact that, after
the marriage of their ancestor Walter of Hungerford to the
heiress of Heytesbury, they adopted the arms of Heytesbury —
per pale indented gales and vert a chevron or — and after the mar-
riage of Walter of Heytesbury with Elizabeth Fitzjohn, the
Hungerford arms usually consist of the coat of Heytesbury
quartered with that of Fitzjohn. Thus we find Heytesbury quar-
tering Fitzjohn as the paternal arms of this Sir John Hunger-
ford, the coats of Burnell in the second quarter and Bottetort
in the third quarter being the arms of heiresses married by two
of his ancestors.
In the second light are the arms of Thomas, the eldest son
of Sir Edmund Hungerford of Downe Ampney, who died in
. Oq 1484, by his wife Margaret, heiress of Sir Edward Burnell.
This Thomas Hungerford, who succeeded his father at Downe
Ampney, married Christian, daughter of John Halle of Salis-
bury, that famous merchant of the Staple, who built the Hall
of John Halle in the street now called New Canal in that city,
he of whom old Aubrey writes, ' as Greville and Wenman
bought all Coteswolde, soe did Halle and Webb all wooll of
Salisbury plaines.' By his speculation in wool John Halle
made a great fortune, was Mayor of Salisbury several times,
and married his daughters well — one of them to Sir Thomas
Wriothesley, Garter King of Arms, and the other, Christian,
to the Sir Thomas Hungerford whose arms, impaling those of
Halle — a chevron charged with a six pointed star between three
columbines — are on the shield in this charming medallion.
We come now, in the third light, to the arms of Sir Walter
Hungerford of whom mention has already been made, the
9d-*J^ fourth son of Sir Thomas Hungerford of Farley Castle. He
had a varied career : as a soldier he was distinguished in
42
LIBRARY
PLATE 22
Thomas Cecil, Earl of Exeter
XVI century
J
The Dining Room
Henry V's wars in France, and was present at the battle of
Agincourt. He was prominent, too, like his father, in the parlia-
mentary world and was Speaker of the House of Commons in
1413. As a diplomat he made his mark, going on embassies to
the Emperor and other Princes of Europe on several occasions.
In 1421 he was made a Knight of the Garter, and in 1424 he
became Steward of the Household to the infant Henry VI. In
the Parliament of 1425 he received a summons to the House of
Lords as Baron Hungerford, and ultimately, in 143 1, he was
appointed Lord High Treasurer of England, an office not only
of great dignity, but of an extremely lucrative nature.
In his county he was known for his generosity, founding
hospitals and houses of alms for poor folk, one of which is
still flourishing at Heytesbury. In Salisbury Cathedral he
built the famous Hungerford Chapel — destroyed by the archi-
tect Wyatt in the eighteenth century — and he also provided
endowments for chantry priests to sing masses there — for ever,
as he thought — for himself, his descendants, and all other
Christian souls.
He died in 1449 and was buried in Salisbury Cathedral,
leaving issue by his first wife Katherine Peverell. His second
son Robert inherited the Barony of Hungerford and the estate
at Heytesbury, the eldest son Walter having died in his father's
lifetime. He also left two daughters, one of whom, Elizabeth,
married Sir Philip Courtenay of Powderham Castle, Devon,
thus establishing relationship with the Courtenay family, a
marriage which doubtless had some connection with the in-
clusion in this series of the arms of Henry Courtenay, Mar-
quess of Exeter, which we see in the right-hand light of this
window.
The arms of Hungerford on this shield show the quartered
43
Heraldic Stained Glass
coats of Heytesbury and Fitzjohn only : on the wife's side of
the shield there are the arms of Katherine Peverell — three gold
wheat sheaves in a blue field with a silver chief — a coat which,
perhaps, originated the Hungerford crest — a wheatsheaf be-
tween two sickles — a sickle being also the Hungerford
badge.
A fine Renaissance panel from Dagnam Park, Essex, bearing
the arms of Edward VI as Prince of Wales, is in the central
light : this panel displays the same beautiful workmanship
shown in the construction of the arms of France and England
which we have noticed in other examples of the Tudor Royal
arms. In this instance, the shield is set in a chaplet of purple-
pink foliage bound with white roses, and surmounted by a
Royal crown. An interesting and uncommon feature in the
latter is the intertwining within the crown of two Royal
badges — the Tudor rose and the pomegranate, the last re-
miniscent of the marriage of Henry VIII with Katherine of
Aragon, and the profiles of a bearded King and a Queen in the
side clasps are noticeably quaint.
In the fifth light is another Hungerford medallion, a shield
with the arms of Thomas Hugford, Huggeford or Higford, for
the name is variously spelt, of Dickies tone or Dixton in Glou-
cestershire— on a chevron between three bucks' heads caboshed or
three mullets gules quartering sable apile argent — and impaling the
arms of Hungerford, quartering Burnell and Bottetort. This
shield commemorates Thomas Hugford 's marriage to Isabel,
one of the daughters of Thomas Hungerford of Downe Amp-
ney and Christian Halle of Salisbury, whose arms we have
already seen. We may notice as an interesting piece of crafts-
manship that the yellow charges in the green field of the arms
of Hugford have been produced by abrading the surface from
44
LIBRARY
PLATE 23
Thomas Manners, Earl of Rutland
XVI century
The Dining Room
a piece of blue flashed glass and staining the whole surface
yellow, thus obtaining the necessary green and gold.
The sixth light contains the last of the Hungerford panels,
an intricate shield with the coat of Sir Anthony Hungerford
impaled with those of his second wife Lucy, daughter of PL*
Walter, the last Lord Hungerford, who was beheaded in 1541.
The husband's coat is quartered with the arms of Hungerford,
and those of Langley and Longley.
Downe Ampney lies to the north-east of the road from
Cricklade to Cirencester. The present mansion there was
built in the reign of Henry VIII by Sir Anthony Hungerford,
father of the Sir John who married Bridget Fettiplace. The
old house has now been much modernised, but the original
gateway with its crocketed gables and domed turrets remains.
It will be observed that all the Hungerford panels in this
window refer to members of the Downe Ampney branch of the
family, and that the persons commemorated by them, with one
exception, all lived during the reigns of Henry VIII and his
children who succeeded him on the throne.
The exception is the medallion with the arms of Sir Walter,
the first Lord Hungerford, who died in 1449, and his wife
Katherine Peverell. There can be no doubt but that this panel,
painted in memory of the first Hungerford of Downe Ampney,
was one of the series of heraldic medallions perpetuating the
alliances of the Hungerford family, now forming such an
interesting feature of the collection at Ronaele Manor.
In the seventh light is a shield with the arms of Henry > - 3 <
Courtenay, Earl of Devon. This nobleman was a son of Sir
William Courtenay and the Princess Katherine, sister of
Edward IV, and for a few years was in high favour with Henry
VIII, who created him Marquess of Exeter in 1525. In com-
45
Heraldic Stained Glass
mon, however, with other descendants of the blood royal, he
fell a victim to the jealous fears of that monarch, and, in 1539,
he was beheaded on a flimsy charge of conspiring with Henry
Pole, Lord Montacute, and Sir Henry Nevill to place Cardinal
Pole on the throne.
It will be noticed that the Royal arms, within a border of
lions and fleurs-de-lis, are in the first quarter of this shield :
this is to indicate the Marquess's descent from Edward IV.
In the second and third quarters are his paternal arms — three
torteaux in a gold field — and the arms of Red vers — a blue lion
rampant on gold — are in the fourth quarter. This coat of
Red vers is still quartered with Courtenay by the Earl of Devon
of to-day as a symbol of his descent from William de Red vers,
Earl of Devon in the thirteenth century, whose heiress
Mary married his ancestor Robert Courtenay, Baron of
Okehampton.
With the exception of the Royal quartering, which is abraded,
the heraldry in this shield is all in leaded pot-metal glass, and
reaches the highest level of craftsmanship : it is, indeed, quite
along the lines of the work of the glass painters of the fifteenth
century. This fine medallion was, no doubt, painted during
the period indicated by the Marquess's coronet with which the
arms are ensigned, that is between 1525 and 1539, and it was
doubtless originally in the windows of Downe Ampney in
company with the Hungerford heraldry.
The Window on the Left of the Fireplace
In the first light is a circular panel from Cassiobury which
^~2 ^jfQ . / a contains an earlier example of the Tudor Royal arms than we
have yet met with at Ronaele Manor. The design of the crown
proclaims it to be the work of the Flemish artists working
46
LIBRARY
PLATE 24
Henry Clinton, Earl of Lincoln
XVI century
s
The Dining Room
in England of whom we have already heard, one of those glass
painters brought by Henry VII — to whom these arms must
be taken to refer — from the Netherlands and who did so much
of the painted glass in the new Lady Chapel at Westminster
Abbey built by that King. The lilies of France are
in leaded pot-metal and the English lions are abraded
from the ruby glass. The green chaplet which surrounds
the shield is distinctly restrained! in design and in marked
contrast with the more florid Renaissance work which we
have come to associate with the Flemish school of glass
painters.
The central panel, from Wroxton, with the Royal arms, is of
a different type to that last described, and may perhaps refer
to Queen Mary. It is probably the work of one of Galyon " f^
Hone's assistants, the design both of the crown and of the
chaplet being very similar to those seen in the windows of the
Living Room.
The significance of the initials M.O.E., on the label below the
shield, is not free from doubt, but perhaps the most likely sug-
gestion is that they are intended for MEMORIA OB ETERNA ,
in pious remembrance of a dead sovereign by a loyal subject.
Another shield of the Royal arms of the time of Henry VIII
is in the third light ; it comes from Coombe Abbey, near ^fjL - fv>- >y-
Coventry in Warwickshire, the seat of the Countess of
Craven. The chaplet is composed of green foliage with
roses in base and at the sides, with white and yellow bands
between them. The medallion is circular, surmounted
by the Royal crown, and the arms on the shield are con-
structed in the style now familiar to us — insets of yellow
fleurs-de-lys in the blue fields and the lions abraded from ruby
glass.
47
Heraldic Stained Glass
The Window on the Right of the Fireplace
In the first and third lights of this window are two circular
medallions of the early sixteenth century from the ancient
home of the Barrett-Lennards at Belhus in Essex, companions
to the panels from the same house which are now in the
Library.
The left-hand light contains a shield — set in an ornamental
chaplet of light purple with white clasps and ruby bands and
with green floral fillings between the shield and the chaplet —
bearing the arms of Sir William Norris and his wife Jane,
daughter of John de Vere, Earl of Oxford. They were the
paternal grandparents of Mary Norris, wife of John Barrett,
builder of the mansion now standing at Belhus.
On the left-hand side of the shield the arms of Norris —
a chevron between three hawks' heads — are quartered with those
of Mountford — bendy oj eight blue and gold within a red border —
while, on the wife's side of the shield are the arms of the
famous family of de Vere — quarterly gules and or with a mullet
in the first quarter — quartered with the coat of Howard — a
bend between six crosslets all silver in a red field. It will be
noticed that the Howard augmentation, the tiny shield to
which reference was made on a previous page, is absent from
the Howard arms in this quartering, the reason being that
the alliance between the houses of de Vere and Howard took
place before the grant of the augmentation. Whenever the
leaded pot-metal process could be used, it has been, in the
construction of this shield ; the only instances of another
process are the crosslets in the Howard coat and the silver
mullet in de Vere's and they are abraded from the ruby
backgrounds.
The central light shows another circular panel of the six-
48
LIBRARY
PLATE 25
Ambrose Dudley, Earl of Warwick
XVI century
The Dining Room
teenth century, somewhat similar in design to the panels from
Belhus, but with a shield of larger and less severe outline.
The arms are those of Moyle of Cornwall — a mule in a red
field within a white border with a * mullet ' — actually the rowel
of a spur — above, quartering Moyle of Chester, Luccombe of
Cornwall, and Kayle of the same county. On the right-hand
side of the shield are the arms of Stanley and Lathom quarter-
ing Stafford, Arden and Cam vile. The persons commemo-
rated by these arms are Sir Thomas Moyle and his wife.
Sir Thomas came of a family of lawyers long settled at
Bodmin in Cornwall. His grandfather, Sir Walter Moyle, was
appointed a Judge of the Court of Common Pleas in 1454, and
Thomas himself followed the law, entering as a student of Gray's
Inn before 1522. He was Reader of his Inn in 1534 and 1539,
having been knighted in 1537. After election as member of
Parliament for Kent, he was elected Speaker of the House of
Commons in 1 542 . We find him busy in the matter of the Dis-
solution of the Monasteries ; he was one of the Commissioners
for visiting the religious houses and collecting evidence to sup-
port Henry VI IPs plan to dissolve them and seize their property.
Afterwards he became Chancellor of the Court of Augmenta-
tions, a tribunal setup to deal with the estates of the dissolved
monasteries. In 1560 Sir Thomas died at Eastwell Court in
Kent, an estate which he had inherited from his grandfather
the Judge.
Apart from the amusing example of canting heraldry in the
first quarter of the shield, the arms of Moyle, a mule, the
Stanley arms and quarterings on the right-hand side of the
shield open out an interesting piece of family history. They
refer to the family of Stanley, of the same stock as the Earls
of Derby, which was seated at Clifton Camvile in Stafford-
G 49
Heraldic Stained Glass
shire, a place famous for the beauty of its church spire. The
Stanleys acquired the Manor there from the StarTords, a
family which has left its mark on English history, and they in
turn inherited it from the Camviles : the arms of these families,
it will be noticed, appear in this shield as quarterings of Stanley.
With regard to the construction of the shield, the abraded
process was used for the charges in the first quarter, and the
remainder of the shield is a mixture of pot-metal and abrasion:
the lions in the last quarter are excellent examples of the last-
mentioned process.
Another shield from Belhus is in the right-hand light, the
arms of John, Lord Lovel, and Joan Beaumont his wife, the
- 5 3 parents of Frideswide Lovel, who was the mother of John
I Q-7& V3 Barrett's third wife. In the first quarter on the husband's
side of the shield is the coat of Lovel — harry nebule of seven
or and gules — which is followed by the Lovel quarterings,
Deincourt, Burnell, a family whose arms we have met with
before in these windows, and Holland, the same coat as seen in
the Morning Room and the Library. On the other side are
the wife's arms, Beaumont — a lion rampant gold in a blue field
powdered with fleurs-de-lis — with the quarterings of Comyn of
Badenoch, a great North-country family, Bardolph, and the
very beautiful coat of Philip, Lord Bardolph — quarterly gules
and argent with a golden eagle displayed in the first quarter. All
the arms in this medallion, except the bordure in the coat of
Burnell, and the quarters in that of Philip, Lord Bardolph,
which are of pot-metal glass, are executed by the process of
abrasion, being very fine examples of that kind of work. The
eagle in Bardolph 's coat, also, is of abraded ruby glass. The
whole shield is of the best type of English Tudor craftsman-
ship.
50
LIBRARY
PLATE 26
Thomas, Lord Wentworth
XVI century
THE RECEPTION ROOM
N the three-light window in this room are cir-
cular medallions with the Tudor Royal arms
and a Royal badge.
In the first light is a shield from Cassiobury
of the Royal arms within a wreath of foliage S<2 ■
stained yellow : it is of the period of Queen l/l/.
Elizabeth, and in spite of the floriated style of the crown, it is
the work of an English glass painter. A noticeable feature in
the arms is the spacing of the charges, the lilies and lions, in
the field : they are boldly designed and adequately fill up the
spaces available for them.
The Royal arms in the middle light is a little earlier in date
than the panel last described. It was probably painted in the
reign of Queen Mary, about the year 1555, and comes from '
Dagnam Park, in Essex. The shield is made up of four pieces
of coloured glass, two blue and two red. Of the charges the lions
are abraded, and the lilies are stained on pale blue glass, and
here, again, the spacing of the charges is well arranged.
The chaplet in which the shield is set is made up of a
running rose branch painted on green glass, with clasps and
bands of red roses at intervals.
A Royal badge of great historical interest from Cassiobury
is in the third light : the Portcullis of the Castle gate, that S
massive frame — usually of timber studded with iron, but
sometimes an iron grating — made to slide up and down in
grooves cut for the purpose in the door jambs. It was worked
by chains attached to the top corners, which passed through
holes cut in the stonework, so that it was indeed a porte-
coulisse, a door sliding in coulisses or grooves. The idea which
originated the portcullis seems to have been based on con-
venience : by its use the great gates of a castle could be kept
5i
Heraldic Stained Glass
open, even in perilous times, thus allowing on the one hand
free passage of air and light through the gateway, and on the
other hand constituting a barrier against marauders strong
enough to hold them in check until the guards within could
swing-to the great doors. The first English King to assume the
portcullis as a badge was Henry VII, and he used it to indicate
the descent of his mother, Margaret Beaufort, from John
Beaufort, Marquess of Dorset, grandson of Edward III, thus
setting forth in picturesque and popular fashion his claim to
the throne of England. The Beauforts long before Henry's
time had adopted the portcullis as their badge, using with it
the significant motto ALTERA SECURITAS.
Henry VII seems to have had special affection for the port-
cullis badge, for not only is it much in evidence in the decora-
tive work of his Chapel at Westminster Abbey, but we see it
on his tomb there, the whole design, complete with the
Beaufort motto.
To further perpetuate the memory of his Royal descent
through the Beauforts Henry created a Pursuivant of Arms
with the title of Portcullis, just as he made another Pursuivant
called Rouge Dragon in memory of his claim to be descended
from Cadwallader, King of Wales. Pursuivants bearing these
titles are still members of the College of Arms.
A glance at this medallion shows that it accurately represents
the portcullis with its chains and rings : the design is painted
in black enamel, heightened with yellow stain, on a single
piece of white glass. The chaplet is of a similar character to
that around the shield in the first light : but the crosses on the
crown are plain patee, not at all floriated.
52
LIVING ROOM
PLATE 27
King Henry VIII
XVI century
?- fo-32.
THE ENTRANCE HALL
ERE there are two medallions from Ashridge
with Royal badges. The first is a red rose with
a white rose in pretence upon it, set within a
bay-leaf chaplet bound at the sides with crossed
ribbons and a white rose at foot. It will be
noticed that the chaplet is slightly pendant, not
circular. The crown which surmounts the rose is* a full bold
design with true crosses patee. This arrangement of roses, red
and white, is not always clearly understood. Henry VII, that
astute monarch, fully appreciated the usefulness of outward
symbols, and he constructed quite a pretty series of badges,
setting forth, in heraldic language, his claim to the throne, and,
in particular, demonstrating that union of the rival interests of
York and Lancaster which his marriage with Elizabeth of York
had effected.
These rose-badge combinations of the red rose of Lancaster
with the white rose of York were of three kinds : the red rose
impaled with the white one, the red rose with a white rose in
pretence, as in this light, and the two roses quartered. The
first two, by analogy to the rules of heraldry applicable to the
marshalling of the arms of husband and wife, ought strictly
to be applied only to the case of Henry VII, for they both
signify that the red rose, Henry, married the white rose, Eliza-
beth. The quartered rose, on the other hand, ought not to
have been used by Henry VII, but only by his descendants.
In practice, however, these distinctions were not always ob-
served, as a visit to Westminster Abbey or Hampton Court
will demonstrate.
The coloured glass in this panel is all pot-metal. The date
of the panel is probably about the last year or so of Henry VIFs
reign.
53
Heraldic Stained Glass
The other light of this window shows us another rose de-
sign, red and white roses impaled, or, more correctly, dimi-
diated. It is of the same date as the panel in the first light,
and exemplifies in a marked degree Henry VI Ps desire to em-
phasize the idea of the union between York and Lancaster
brought about by his marriage. For not only are the two
roses impaled, like the arms of a husband and wife, but a
further compliment to his wife's family is introduced by the
addition to the design of the sun rays which surround the
roses, a white rose en soleil having been one of the badges of
her father Edward IV.
54
LIVING ROOM
PLATE 28
Erlye impaling Clederowe
XVI century
THE STAIR HALL
HE magnificent bay window of twenty-four
lights containing a series of sixteenth-century
armorial medallions brings before us many
princes and statesmen of the Tudor period,
some of whose heraldic cognizances we have
already met with at Ronaele Manor. This
may well be called the Garter Window , for all the shields in it —
with but two exceptions — are ensigned by that symbol of the
ancient and illustrious Order of the Garter founded by King
Edward III and flourishing to-day.
The beautiful medallion with the Tudor Royal arms from
Windsor in the second light of the top tier of the window ,5~«2
is a fit introduction to this splendid array of heraldic glass.
It is an exceptionally happy rendering of its subject, and
its history adds interest to its high qualities in other
respects.
When, in the reign of Henry VIII, the Chapel of St. George
at Windsor, commenced by Edward IV on the site of the an-
cient Chapel of St. Edward, was approaching completion,
there arose, of necessity, the question as to how the windows
could best be made beautiful with painted glass. Should the
restrained and more severe style of the old English school be
adopted, or should Master Galyon Hone, the ' Kynge's
Glassyer,' be summoned from his workshop in Southwark to
fill the windows with panels painted in the manner of Flan-
ders ? Of Galyon Hone and his companions and of their
style of composition we have already spoken in describing the
ancient glass from Wroxton Abbey. We need only call to
mind here that it was distinguished by a richness and variety
of colouring, and complexity and boldness of design which had
sprung up in the Low Countries as offshoots of the Renais-
55
Heraldic Stained Glass
sance and had been introduced into England by glass painters
brought from Flanders by Henry VII.
The Flemish style was adopted and Galyon Hone and his
fellow artists were employed to supply painted glass for the
windows then awaiting glazing, and to restore such of the
older glass as needed repair. The medallion before us exhi-
bits all the characteristics of the Anglo-Flemish school of
Tudor days — elaboration of detail and intricacy of design
combined with highly dexterous lead work and clever use of
the abrading tool ; all the coloured glass in it is of pot-
metal.
The arms on the shield are those with which our survey of
the ancient glass at Ronaele Manor has made us familiar —
France and England quarterly with a label of three points argent
— the arms of the child Prince of Wales, afterwards Edward VI.
The shield of Henry Stanley, fourth Earl of Derby, K.G.,
which is in the third light, comes from Ashridge. This Stan-
ley shield with its eight quarterings — merely a selection from
the many quarterings to which this family, even as far back
as the sixteenth century, was entitled — is of special interest
both from the historical and heraldic points of view. The
first coat in the shield, so well known as pertaining to the
powerful and widespread family of Stanley — or Stoneley as it
was originally, from the Manor of that name in Staffordshire —
illustrates early heraldic usage, under which a man was at
liberty to adopt any design for his coat of arms that pleased
him so long as it did not belong to another. In particular, it
was no uncommon thing for one who married an heiress to
adopt the arms of her family in lieu of his own, a custom of
which there are many instances.
A case in point is that of the Norris family of Berkshire,
56
LIVING ROOM
PLATE 20
King Henry VIII
XVI century
SJ-
'3H
The Stair Hall
illustrated by the Norris arms in some of the ancient glass
from Belhus which we have already seen in the windows at
Ronaele Manor. The original arms of Norris — quarterly ar-
gent and gules with a goldjrette in the second and third quarters
and a fesse azure over all — were exchanged on a Norris mar-
riage with an heiress of the family of Ravenscroft for her own
arms — a chevron between three ravens' heads erased sable on a
silver field — as we see them in the Dining Room.
A similar example of change of arms on marriage is in the
shield before us. When an early ancestor of the Earls of Der-
by, one Sir William Stanley, married Joan, the heiress of the
Bamvilles, he became in right of his wife Lord Warden of the
Forest of Wirral, in Cheshire. Thereupon he ceased to use
his paternal arms, and adopted the coat, known for centuries
since his time as the Stanley arms — three golden stags1 heads
caboshed on a blue bend in a silver field — appropriate heraldry
for a Forest Lord, keeper of the King's deer.
With regard to the arms borne by Sir William Stanley and
his ancestors before his marriage with Joan Bamville, we must
go back a few generations to understand the matter. One
of his ancestors — all of whom originally bore the surname of
Audley — took the name of Stanley or Stoneley in lieu of Aud-
ley when he acquired the Manor of Stoneley, by giving in
exchange for it the Manor of Thalk in Staffordshire which he
had become possessed of by his marriage with Joan, daughter
and heiress of Thomas Stanley. Thus he and his descend-
ants became Stanleys instead of Audleys, although he and they
continued to use the arms of Audley until Sir William Stanley
married Joan Bamville. The arms of Audley are gules a fret
or, and they have been borne in modern times by the Lords
Audley, quarterly with their paternal coat of Touchet, they
H 57^
Heraldic Stained Glass
being the descendants in the female line, and the representa-
tives, of the elder branch of the old-time Barons of Audley.
The arms of the ancient family of Lathom in Lancashire are
in the next quarter. These arms came to the Stanleys by the
marriage of Sir John Stanley, K.G., the great-grandson of Sir
William Stanley, with Isabel, the heiress of Sir Thomas Lathom
of Lathom and Knowsley, both in Lancashire. This mar-
riage brought a great accession of wealth and territorial influ-
ence to the Stanleys and may be said to have laid the founda-
tion of their great estate through the centuries. Thus Sir John
Stanley acquired both Lathom and Knowsley by his marriage ;
Lathom passed in 1714 to the Ashburnham family, and subse-
quently it became the property of the families of Bootle and
Wilbraham. The old house at Lathom is memorable for its
siege by the Parliamentary forces in 1644, when the then Coun-
tess of Derby, Charlotte daughter of Claude de la Tremouille,
Due de Thouars, successfully defended her husband's man-
sion with such courage and tenacity that her heroism has be-
come matter of history. Knowsley, the other great estate
which Isabel Lathom brought to the Stanleys, has remained
with them and is the principal seat of the Earl of Derby to-day.
Sir John Stanley was eminent in his time. In 1385 he was
Lord Deputy in Ireland, and in 1406 he obtained a grant to
himself and his heirs of the Isle of Man and the isles adjacent,
together with all rights of royalty over the same, to be held of
the Crown of England by homage, and by the gift to every King
of England on his Coronation of two falcons. By Henry V,
on his coming to the throne, Sir John Stanley was created a
Knight of the Garter, and was also appointed Lord Lieutenant
of Ireland for six years : in that office he died in 1 414.
The gift of royal rights over the Isle of Man to Sir John
58
LIVING ROOM
PLATE 30
Thomas, Lord Audley
XVI century
The Stair Hall
Stanley and his heirs explains the presence, in the third quar-
ter of this shield, of the arms of the Isle of Man — three legs in
armour, conjoined in f esse and bent at the knees, on a red field.
Originally the Stanleys were dignified by the title of King of
Man, and held it until early in the sixteenth century, when
Thomas, second Earl of Derby, took for it the less ambitious
title of Lord of Man. As time went on many difficulties arose
consequent on this absolutely independent position of the
Island : among others it was found to offer too great facilities
for smuggling. In 1764, therefore, the then Lord of Man sur-
rendered to the Crown all regal rights over the Island in con-
sideration of a payment of seventy thousand pounds, but re-
tained the bare title of Lord of Man and certain rights of
patronage.
In the next quarter is the coat of Warrenne — chequee or and
azure — perhaps the best known piece of old baronial heraldry
in England, for we see it to-day as an inn sign — the Chequers —
in almost every town in the country. This coat came to the
Stanleys in the usual manner — marriage with an heiress.
The arms of Strange in the fifth quarter, and those of Wyd-
ville, Mohun and Monhaut which follow it, were brought into
the Stanley family by the marriage of George, eldest son of
Thomas, second Lord Stanley, with Joan, heiress of John,
Lord Strange of Knockyn. Joan Strange was also one of the
coheiresses to the Baronies of Mohun and Monhaut, and
through her mother Jacquetta Wydville, daughter of Richard
Earl of Rivers, coheiress to that nobleman. George Stanley
thus became Lord Strange in right of his wife, and under that
title was summoned to Parliament in 1488.
Henry, the fourth Earl of Derby, to whom this shield refers,
can hardly be counted among the great Elizabethans. He
59
Heraldic Stained Glass
studied taw at Gray's Inn, where a shield of arms identical
with that before us is still in the great bay window of the hall ;
he was knighted and made a Gentleman of the Privy Chamber
at the Coronation of Edward VI ; he held the same office under
Philip and Mary, and he made a good match when he married
Margaret daughter of George Clifford, Earl of Cumberland.
In 1572 he succeeded to the Earldom of Derby and the Lord
Lieutenancy of Lancashire : in 1574 he was created a Knight
of the Garter and in the same year was sent as Ambassador
Extraordinary to France, to invest Henri III with the Order
of the Garter — a picturesque and interesting mission. Later
he was made a Privy Councillor, and when Mary Queen of
Scots was brought to trial, he was one of her judges. A point
to note about this Earl of Derby is that he was the patron of a
band of Players for whom he obtained the privilege of per-
forming before Queen Elizabeth. In 1593 he died and lies
buried at Ormskirk in Lancashire.
The Garter around this shield is of pot-metal blue glass,
alternating with pieces of yellow glass upon which the motto
is outlined on a background of black enamel : the arms are of
pot-metal, abraded glass, and enamel.
In the fourth light we see a shield of the Tudor Royal arms
from Ashridge which may safely be ascribed to Queen Eliza-
beth. In this instance the fleurs-de-lys are stained yellow on
pale blue glass, while the blue of the Garter is rendered in pot-
metal and the crown painted in enamel. The name of Queen
Elizabeth is closely connected with Ashridge. She lived there
during the reign of Edward VI, and although on the accession
to the throne of her half-sister, Mary, she returned to the
Court for about a year, in 1554 she thought it prudent to retire
to Ashridge. On the breaking out, however, of Sir Thomas
60
LIVING ROOM
PLATE 31
Katherine Parr, wife of King Henry VIII
XVI century
<T<z
The Stair Hall
Wyatt's rebellion, Elizabeth was removed first to Whitehall,
and afterwards to the Tower of London. There she remained
for three months and, after a short stay at Woodstock, pro-
ceeded to Hatfield, in Hertfordshire, which became her usual
place of residence until the death of Queen Mary. This panel
was no doubt one of the * Royal arms many times ' seen by
the writer in The Topographer when he visited the house in
1790.
The fifth light shows us another fine medallion of the Tudor
Royal arms, impaled, in this instance, with the Cross of St.
George — an example of heraldic marshalling seldom met with
— which may well be a fellow to that in the second light. Al-
lowing for the greater severity of design imposed upon the
painter by the fact that the shield is ensigned by the Garter
instead of a decorative chaplet, the treatment of this medallion
suggests Galyon Hone or one of his fellow glass painters. It
is wholly in pot-metal glass and the leading and abraded work
show a master hand . It seems vastly probable that this medal-
lion originally stood at the head of a long array of arms of
Knights of the Garter, probably in a Royal residence or
Chapel, and symbolized the King's jurisdiction as Sovereign
of the Order. Early in the nineteenth century this interesting
example of Tudor heraldry found its way into the large col-
lection of painted glass formed by Sir Thomas Neave at Dag-
nam, Essex.
In the next light is another medallion from Dagnam Park,
a shield with the arms and quarterings of RatclirT, a family
which in its various branches achieved distinction in mediaeval
times, and attained to great fame in the sixteenth century, and
onwards to the days of George III, and not least in the person
of James Ratcliff, the last Lord Derwentwater, the tale of
61
Heraldic Stained Glass
whose tragic death in the cause of the exiled Stuarts makes one
of the tenderest and saddest passages in English history.
To that branch of the Ratcliffs to which the Earls of Sussex
of Tudor times belonged we referred when describing the
arms in the Library of the fifth Earl of Sussex, and we shall say
more on the subject when we come to the shield of the third
Earl. The arms in the medallion of which we are now speak-
ing are probably those of the second Earl of Sussex, Henry
Ratcliff, K.G., whose more celebrated son is commemorated
in the eleventh light of this window. Born in 1506, in the
last years of the reign of Henry VI I, he lived through the reigns
of Henry VIII, Edward VI, and Mary without attaining cele-
brity, or taking any very active part in the events of that stir-
ring period. The positions which he held were for the most
part such as would naturally fall to one of his rank — Gentle-
man-in- Waiting to Cardinal Wolsey on his embassy to France
in 1527 and one of the Commissioners for the trial of Lady
Jane Grey and Lord Guilford Dudley. He died at his house
at Cannon Row, London, in 1566 and was buried in the
Church of St. Laurence Pountney in that city. In after
years his remains, with those of Robert, the first Earl of Sussex,
were removed to Boreham Church in Essex and reinterred in
the Sussex Chapel there under a sumptuous altar tomb bearing
the effigies of the first three Earls of Sussex.
An interesting episode in the career of this Earl, associated
with the committal to the Tower of London of the Princess
Elizabeth in the days of Queen Mary, may be recalled. Com-
pelled by his allegiance to the reigning Queen to undertake
the task, distasteful as it must have been to him to escort the
Princess, his kinswoman, as a prisoner to the Tower, he exe-
cuted the commission with all the courtesy possible on such
62
LIVING ROOM
PLATE 32
Paulet of Edington
XVI century
The Stair Hall
an occasion, doing everything in his power to mitigate the
severity which the other nobleman associated with him was
disposed to exhibit, and on taking leave of the Lieutenant of
the Tower, impressing upon him and his subordinates how
needful it was that the daughter of Henry VIII, their King for
so many years, should be treated with such care and courtesy
that they might be able to justify themselves thereafter, and in
particular to act in no way not strictly within the lines of their
duty.
The seventh light contains an example of the Tudor Royal
arms of Henry VIII's period. This medallion is in certain fJi 4 T&" ^>
respects a contrast to the Royal arms in the second light. In
the first place it is the work of a native English craftsman and
exhibits the leading characteristics of the English school of
glass painting — simplicity of design and richness of colour . It
will be noticed that the outlines of the chaplet and of the
shield are restrained, lacking that flamboyancy of outline which
one associates with the work of painters trained in Flemish
methods. Again, the bands around the chaplet are simple in
design without that intricacy and exuberance of ornament so
much practised by the Flemings. At the same time there is no
lack of depth or brilliance in the colours : the chaplet in a rich
tone of green, the blue of the coat of France and the ruby of
England exhibit a brilliance which will not lose by comparison
with other examples of earlier glass : all the colours are ren-
dered in pot-metal. This medallion comes from Ashridge,
and is no doubt another of the * Royal arms many times '
seen there by the eighteenth-century antiquary when he visited
the mansion.
We now come to the middle tier of this Garter Window.
The first light on the extreme left hand contains a shield, also
63
Heraldic Stained Glass
from Ashridge, of Sir William Cecil, first Lord Burghley,
K.G., the greatest figure in the world of politics during the
sixteenth century.
The family of Cecil came of a race of yeomen or small gentry
long seated in Herefordshire. The earlier pedigree of the
Cecils is obscure, for Lord Burghley 's descent cannot be car-
ried back with any certainty beyond his grandfather David
Cecil, although it is extremely probable that David was a son
of Richard Cecil who died about 1508. David Cecil settled
at Stamford in Lincolnshire, and prospered exceedingly, be-
coming Alderman and Mayor of the borough and its repre-
sentative in three Parliaments. He seems to have had some
influence at the Court of Henry VII, for his name occurs
among the Yeomen of the King's Guard at Henry VI Fs fune-
ral, and he evidently increased that influence in the reign of
Henry VIII, for we find that in 1509 he was appointed Bailiff
of several Crown Manors, and a few years after the office of
Water-Bailiff of Whittlesea Mere, and that of Keeper of the
Swans, which are Royal birds, throughout the fens of Hun-
tingdon, Lincoln, Cambridge and Northampton, were con-
ferred upon him. These were followed by other similar
Crown appointments, and in 1532 and 1533 he was Sheriff of
Northamptonshire. In 1542 or thereabouts David Cecil died,
leaving his son Richard to continue his father's successful
career.
He began as a King's Page in 15 17, became Groom of the
Wardrobe to Henry VIII, which office gave opportunity to
* such a wise and discreet man,' as an old writer calls him, to
ingratiate himself with the King. Like his father he received
many stewardships of Crown lands, and he was appointed
Sheriff of Rutland in 1539. To Richard Cecil, and in a less
64
LIVING ROOM
PLATE 33
Paulet impaling Clederowe
XVI century
The Stair Hall
degree to his father David, must be ascribed the beginnings of
the material prosperity of the family of Cecil, for in common
with most of the minor gentry of Tudor times from whom
spring many of the titled nobility of to-day, he profited very
largely by grants of lands which had belonged to the dissolved
monasteries. Among others, he acquired by grant from the
Crown, in and about Stamford alone, a nunnery with the Rec-
tory of St. Martin's Church, St. Michael's Priory with its
church and churchyard, the Manor of Wothorpe, which had
belonged to Croyland Abbey, and the house of the White
Friars.
Richard Cecil retained the favour of Henry VIII until that
King's death, and was continued in his various offices by
Edward VI. In 1553 he died, and was buried in the Church
of St. Margaret, Westminster, leaving by his wife Jane, daugh-
ter and heiress of William Heckington, an only son William,
who was to become the great Lord Burghley, he who is com-
memorated in the shield of arms before us.
The life of William Cecil, first Lord Burghley, has been so
often written, and all details of his career are so readily avail-
able, that we may confine our notice of him here to a very few
words. He was born in 1520 at Bourne in Lincolnshire,
probably at the house of his mother's parents, the Hecking-
tons. The Grammar School at Stamford gave him the rudi-
ments of learning ; in 1535 he became a student at St. John's
College, Cambridge, and leaving the University without taking
a degree he entered Gray's Inn in 1540, was called to the Bar
in the following year, and became an Ancient of the Society in
1554. Attracting the notice of Henry VIII by his skill in
disputation, he ultimately rose to be Secretary of State at the
early age of thirty, in the third year of Edward VI.
* 65
Heraldic Stained Glass
Throughout the reign of Edward VI William Cecil's was the
guiding hand in all matters of State. While ambitious nobles
were plotting against each other he remained indefatigable in
business, earning that description of him by an historical
writer which runs : * Of all men of business he was the most
of a drudge ; of all men of business the most of a genius.' In
the events which immediately preceded and followed the death
of Edward VI Cecil kept aloof as much as possible from the
wild doings of the Duke of Northumberland, and, foreseeing
the failure of them, took the earliest opportunity of making his
court to Queen Mary, who, knowing his value, received him
graciously and gave him a general pardon for his forced and
unwilling acquiescence in Northumberland's attempt to place
Lady Jane Grey on the throne. Although Cecil held no office
during the reign of Mary, it is probable that he was often con-
sulted by her and her Council ; in any event he stood loyally
by Mary while she lived.
At the same time he contrived to keep closely in touch with
the Princess Elizabeth, so much so that we find her seeking his
advice on all sorts of private business from an early period.
Thus, in the year following the death of King Henry VIII, her
Cofferer, Thomas Parry, writes to Cecil for advice as to how to
deal with complaints which the Princess had received of the
conduct of the paymaster of a hospital for poor folk which she
had refounded at Ewelme in Oxfordshire.
All through his life Cecil was busy accumulating — some-
times by purchase, and at other times by grants from the
Crown, of monastic lands and Crown manors and various
lucrative offices — the large fortune of which he died possessed.
From his father, too, he had received several manors and other
properties beside the estate of Burghley.
66
LIVING ROOM
PLATE 34
Edward, Prince of Wales
XVI century
The Stair Hall
The death of Mary, and the consequent accession of Eliza-
beth to the throne, began that period of forty years' continuous
service to the State which has made the name of William Cecil,
Lord Burghley, so well known. In every book of English
history we can read the story. Perhaps the key to his career
may be found in the last letter which he wrote with his own
hand, a letter to his son, Sir Robert Cecil. * Serve God,' he
writes, ' by serving of the Queen ; for all other service is in-
deed bondage to the devil.'
Lord Burghley died in 1598 and was buried in St. Martin's
Church, Stamford, under a monument of many kinds of
marble richly painted and gilt.
The arms painted in enamel on the shield before us are those
of Cecil quartering Winston and Carlyon, both of which are
believed to have come to the Cecils by the marriage of David
Cecil's great-grandfather with the heiress of the Winstons ;
and Heckington and Walcot, the arms and quartering of Lord
Burghley 's mother Joan or Jane Heckington. It will be
noticed that the shield is surmounted by an Earl's coronet
although William Cecil, Lord Burghley, was never created an
Earl ; he died a Baron only. It was not until many years
after Lord Burghley 's death that Barons had the right to wear
coronets ; they had crimson caps of estate only. It is clear,
therefore, that the Earl's coronet may not have been originally
over Lord Burghley 's arms in this panel, and the most prob-
able explanation of its presence there to-day is that when Lord
Ellesmere, or his successor at Ashridge, early in the seven-
teenth century, arranged all these Gartered arms in the win-
dows there, the coronet was added to Burghley 's arms for the
sake of uniformity with the others, and also to make it serve
not only for Lord Burghley himself but for his son, the then
67
Heraldic Stained Glass
Earl of Exeter, who was connected by marriage with the Elles-
mere family, and whose arms were the same as his father's.
In the second light of the middle tier, side by side with the
x arms of Sussex, are those of his enemy Robert Dudley, Earl of
Leicester. This medallion is also from Ashridge. We have
already, in describing the ancient glass in the Morning Room,
dealt at some length with the ancestry of the Dudley family.
Robert Dudley was the third son of the ill-fated John, Duke of
Northumberland, and with his brothers was for a time impri-
soned in the Tower of London after the failure of the father's
attempt to place Lady Jane Grey on the throne. There, in
the Beauchamp Tower, is to be seen to-day the carved wall
panel commemorating the imprisonment of Robert Dudley
and his brothers, done by the eldest of them, John, to while
away the tedious hours of his enforced stay in durance.
Little is heard of Robert Dudley during the reign of Queen
Mary, although he was received at Court and appointed Master
of the Ordnance, but he rose rapidly to Court favour when
Queen Elizabeth ascended the throne. He was at once made
Master of the Horse, and soon established himself in the role
of the Queen's favourite courtier. The Knighthood of the
Garter, the Barony of Denbigh and the Earldom of Leicester
followed. In popular estimation Leicester's character is
blackened by suspicion of two foul deeds : complicity at least
in the death of his wife Amy Robsart, and the poisoning of
Lord Sheffield, whose widow he married as his second wife.
Rumour was busy with Leicester's honour in both these
affairs, and it is true that the cautious Burghley, in a letter to
the Queen when the possibility of her marriage with Leicester
was in the air, referred to him as ' infamed by the death of
his wife.' It is certain, however, that Elizabeth was not im-
68
LIVING ROOM
PLATE 35
Edward, Prince of Wales
XVI century
The Stair Hall
pressed by popular rumour on the subject, nor did she alter
her attitude towards Leicester on account of it. On the whole
we may say that the probabilities are on the side of his inno-
cence in these matters as well as in the case of other similar
charges brought against him subsequently.
In 1578 Leicester ran a near chance of losing permanently
the Queen's favour by his marriage with the widow of Deve-
reux, Earl of Essex. Indeed he was imprisoned at Greenwich
and would have gone to the Tower, so great was Elizabeth's
resentment. At this juncture he was saved by his enemy, the
Earl of Sussex, whose honest mind revolted at the idea of
Leicester's ruin for such a cause. Sussex represented to the
Queen that punishment of Leicester for contracting a lawful
marriage would be unjust and unconstitutional, and would be
a blot on her good name. In the result Leicester was released
after a short imprisonment and managed to hold his position
at Court and in the Queen's favour until his death in 1588.
He died without children by either of his three wives, but he
left an illegitimate son Robert, who was born in 1573 and died
in 1649 a^ter a somewhat remarkable career. He was knighted
for his valour at Cadiz in 1596 by the Earl of Essex, and he
assumed his father's title, refusing to return home to answer a
charge of having done this without right. He seems then to
have taken service with the Emperor, and he so distinguished
himself that he was created in 1620 Earl of Warwick and Duke
of Northumberland in the Holy Roman Empire. He was
given to the study of mathematics and engineering, and earned
much praise from the Pisans by carrying through a great
scheme for draining the marshes between Pisa and the sea :
altogether a notable character.
The arms of the Earl of Leicester in this shield do not
69
Heraldic Stained Glass
materially differ from those of his brother Ambrose Dudley,
which we saw in the Library. The quarterings are not uni-
formly the same as those in Ambrose's shield, but all of them
are coats claimed by the Dudleys. It will be noticed that each
compartment of the shield is on a single piece of glass, and
that the painter has employed the processes of enamel and
abrasion as being best suited for heraldic painting on a small
scale. The Garter is in pot-metal and the medallion forms
an excellent example of Elizabethan glass painting.
Another coat of Ratcliff painted entirely in enamel, that of
Thomas, third Earl of Sussex, K.G., occupies the next light ;
it comes from Ashridge. In speaking of the arms in the Lib-
rary of Robert, fifth Earl of Sussex, we have barely men-
tioned the family of Ratcliff to which the Earls of Sussex of
the sixteenth and seventeenth centuries belonged. The Rat-
cliffs or Radcliffes took their name from the Manor of that
name in Lancashire. In the twelfth century we find a William
of Ratcliff seated at Ratcliff Tower, who was Sheriff of Lan-
cashire in 1 194. A descendant of his, Richard of Ratcliff
Tower, did brave deeds in the Scottish wars of Edward I, and
increased his patrimony by marrying a daughter of Boteler,
Baron of Warrington. In this connection we may notice the
arms of Boteler in the last quarter of this shield. It was from
this Richard of Ratcliff that the Earls of Sussex were de-
scended, through his second son William, who married the
heiress of the Culceth family and settled at Culceth. By the
usual custom of marrying heiresses the Ratcliffs added
manor to manor through the centuries : the shield with its
quarterings, Fitzwalter, Bottetort, Lucy, Mortimer and others,
exemplifies this.
It was not, however, until the sixteenth century that the
70
LIVING ROOM
PLATE 36
Seymour of Sudeley
XVI century
The Stair Hall
Ratcliffs became in a marked degree prominent in English his-
tory, unless we except Sir Richard Ratcliff, Minister to
Richard III, who is perhaps best known by the mention of him
in the doggerel verse : —
' The cat, the rat, and Lovel our dog
Ruleth all England under a Hog,'
a poetical effort which brought its author, William Colling-
bourne, to the gallows on Tower Hill. The hog is a reference
to Richard Ill's badge, a white boar, and the cat and Lovel our
dog were meant for Sir William Catesby, beheaded after Bos-
worth Field, and Francis, Viscount Lovel, both, with Sir
Richard Ratcliff, strong supporters of King Richard's rule.
The first Earl of Sussex rose to a considerable degree of in-
fluence in political affairs in Henry VI Fs reign, and his suc-
cessive marriages to daughters of the Duke of Buckingham
and the Earl of Derby increased his already ample fortune. It
is, however, the Ratcliff whose shield of arms is before us —
Thomas the third Earl — who is best known to fame. He was
born in 1526, the son of Henry the second Earl by Elizabeth
Howard, a daughter of the second Duke of Norfolk, a mar-
riage which made Thomas Ratcliff cousin to Queen Elizabeth.
Under Queen Mary he became Lord Deputy of Ireland, an
office which he retained for some time under Elizabeth. In
1565 he resigned the Lord Deputyship and was made Lord
Chamberlain.
Subsequently Sussex was appointed Lord President of the
North, an office of extreme difficulty, but one for which he was
especially fitted. The Catholic Rising of 1565 had left the
North seething with the effects of its sanguinary suppression ;
a state of things with which the straightforward, soldierly
character of Sussex was well able to deal. The lifelong
7i
Heraldic Stained Glass
enmity of this Earl with Robert Dudley, Earl of Leicester, is
matter of history — the soldierly frankness of Sussex against
the intriguing courtliness of Leicester. Sir Walter Scott's
picture of the two men in Kenilworth is perhaps the most
convincing account — coloured no doubt for the novelist's
purpose — of the relationship between these favourites of
Elizabeth.
The presence of his shield at Ashridge is probably to be
accounted for by the fact of the high position held by Sussex
as one of Queen Elizabeth's most trusted Ministers, and per-
haps it may also be commemorative of a visit by him to that
house in the Queen's company. He died in 1583.
The fourth light of the middle tier shows us another coat of
Dudley with the sixteen usual quarterings of that family : this
medallion may best be assigned to Robert, Earl of Leicester,
of whose career we have previously spoken.
The arms on this fine shield are identical with those of his
brother Ambrose in the adjoining Dudley medallion and are
executed in enamel colours and by the process of abrasion.
As both these panels are originally from Ashridge we may
assume that the reason for their presence there is the same in
the one case as in the other — that they commemorate visits
by the Earls of Warwick and Leicester to Ashridge while in
attendance on Queen Elizabeth on the occasion of one of her
progresses through the kingdom.
The arms of Arthur, Lord Grey of Wilton, K.G., who died
in 1593, are in the sixth light of the middle tier. It will be
remembered that we saw a shield of his arms in the Library,
ensigned, like that before us, with the Garter and an Earl's
coronet. This family of Grey has played a part in every
period of English history. Leaving out of account their claim
72
DINING ROOM
PLATE 37
Sir John Hungerford
XVI century
Sir Walter Hungerford
XVI century
S '
Thomas Hungerford
XVI century
The Stair Hall
to descend from Rollo, Chamberlain to Robert Duke of Nor-
mandy, who received a grant of the Castle of Croy, in Pi-
cardy — from which place the surname of Grey or Gray is said
to be derived — we find two brothers, both named John,
famous in the reign of King John. The younger was a not-
able Churchman of his day and, like his collateral descendant,
Arthur, whose shield of arms is before us, was sent to Ireland as
Lord Deputy, reaping thereby much tribulation. The other
John may be called the founder of the best known branches of
this famous house ; one of his sons, Walter, became Lord
High Chancellor of England and Archbishop of York ; from
the other descended the Greys of Rotherfield in Oxford-
shire, the Lords Grey of Codnor in Derbyshire, the Lords Grey
of Wilton in Wiltshire, and those of Ruthyn in Wales. The
Ruthyn branch has been fertile in celebrities — Earls and
Dukes of Kent, and the Greys, Lords Ferrers of Groby.
John, the eldest son of the first Lord Grey of Groby, was the
first husband of Elizabeth Wydville — afterwards Queen of
Edward IV — and his son Thomas, created Marquess of Dor-
set by his stepfather, King Edward, was the great-grand-
father of Lady Jane Grey.
To the Wilton branch of the Greys the legal profession has
cause to be grateful, for it is to Henry Grey of Wilton, who
died in 1396, that the celebrated Inn of Court, Gray's Inn,
owes its origin. The Manor of Portpole, on the north side of
Holborn in Middlesex, had been the London house or Inn of
the Greys of Wilton for some generations before this Henry
Grey conveyed it by the description of * his manor of Portpole
in Holburne called Greysyn,' to certain persons, probably
trustees for a body of lawyers. This conveyance was con-
firmed by Henry's son Richard, Lord Grey of Wilton, in 141 5,
K 73
Heraldic Stained Glass
and finally, in 1505, Edmund the then Lord Grey of Wilton
granted, probably by way of confirmation of the previous con-
veyance, the Manor of Portpole and all his possessions in the
Parish of St. Andrew, Holborn, to several grantees, members
of Gray's Inn, some of whom were eminent lawyers, among
them Edmund Dudley, the arms of whose descendants are so
much in evidence in the windows at Ronaele Manor.
It may be of interest to mention that there is another family
of Grey, descended from Sir Thomas Grey of Berwick, who
died in 1402. Several members of it have been eminent in
various ways, particularly in politics. The two principal
branches of this family are Grey of Powis in Wales and Grey of
Wark in Northumberland. To the Wark branch belonged the
nineteenth-century statesman Charles second Earl Grey,
K.G., Prime Minister of England from 1830 to 1834; his son
Henry George, third Earl Grey, K.G., also prominent as a
politician ; Sir George Grey, who held high Ministerial rank
during the government of his uncle Lord Grey ; and, lastly, Sir
George Grey's grandson, Edward, Viscount Grey of Fallodon,
whose name is a household word to-day.
The quarterings which follow the coat of Grey in this shield
are fewer in number than those in the Library medallion, and
there are some in each shield which are not in the other : we
need not be surprised at this, for in the case of a family like
Grey, one of the noblest in England, there must always be a
larger number of quarterings than could be conveniently ar-
ranged in a shield of ordinary size. It is therefore necessary to
make a selection. The shield, like most of those which con-
tain many quarterings, was painted in enamel colours on two
large panes of white glass for the reason which has already been
explained.
74
DINING ROOM
PLATE 38
Edward, Prince of Wales
XVI century
The Stair Hall
In addition to the short account which we gave of this Earl
in speaking of his shield in the Library, we may note that
among the many distinguished Englishmen who served in the
army in Ireland during Lord Grey's tenure of the Lord Depu-
tyship was Sir Walter Raleigh, whose services were rewarded
by grants of Irish land and the Governorship of the City of
Cork.
This medallion is one of those noted by the writer in The
Topographer as having been in the windows at Ashridge in
1790.
The arms of Francis Russell, second Earl of Bedford, K.G.,
a nobleman of some eminence during the reign of Queen
Elizabeth, are in the seventh light of the middle tier. He was
born in 1528, the only son of John Russell, originally a simple
country gentleman living near Bridport in Dorsetshire, but
who achieved a great position, one founded on a fortunate ac-
cident but built up largely by his own talents and accomplish-
ments. The accident to which we have alluded came about in
this way.
The Archduke Philip, only son of the Emperor Maximilian I,
having been driven by stress of weather into Weymouth,
was hospitably entertained by Sir Thomas Trenchard, a gen-
tleman of the neighbourhood. Sir John Russell, who hap-
pened to be a cousin of Sir Thomas Trenchard, was invited to
wait upon the Archduke during his stay in Dorset and during
his visit to the King at Windsor, and he so ingratiated himself
with Philip that the Prince strongly recommended him to the
King's notice. This was the beginning of John Russell's
uniformly successful career. Honours, culminating in the
Knighthood of the Garter and the Earldom of Bedford, were
heaped upon him, and that worldly possessions might not be
75
Heraldic Stained Glass
lacking to support his dignity he was given much spoil from
the dissolved monasteries, among others the estates of the
mitred Benedictine Abbey of Tavistock in Devonshire, and
those of the Cistercian Abbey of Woburn and the Preceptory
of the Knights of St. John of Jerusalem at Melckbourne, both
in Bedfordshire. The Abbot of Westminster's garden in the
Strand, London — the Convent Garden — also went to enhance
the fortunes of the house of Russell, and when Charles II
added the right to hold a market on the site of the garden it
was not long before Covent Garden Market got established,
and so prospered that to-day the greater part of the vegetables
and fruit consumed by Londoners pays toll to the owners of
the Market.
Thus, Francis Russell was born to high estate and great
wealth. Early in life he saw service with his father in the
French wars, and on the accession of Edward VI his strong
leanings to Protestantism brought him to the fore. From 1547
to 1553 he was Member of Parliament for Buckinghamshire,
being the first heir to a peerage to sit in the House of Com-
mons. In 1547 he was Sheriff of Bedfordshire and in 1549 he
helped his father to suppress the Catholic Rising in the West
of England. Francis Russell, who after his father's elevation to
the Earldom of Bedford was styled by courtesy Lord Russell,
took a prominent part in religious affairs during the reign of
Edward VI ; among other activities of that kind he assisted at
the conferences held in 1551 at the houses of Lord Burghley
and Sir Richard Morrison on the nature of the Sacrament of
the altar, showing strong sympathy with the views of the Swiss
Reformers on that subject and on religion in general.
In 1553 the Lord Wardenship of the Stannaries was con-
ferred upon him, an office of considerable importance, in-
76
DINING ROOM
PLATE 39
Thomas Hugford
Sir Anthony Hungerford
i9 c*
£-
Henry Courtenay, Earl of Devon
XVI century
The Stair Hall
volving the headship of the courts which deal with the tin
mines of Devon and Cornwall and the rights in them, as well
of the Duchy of Cornwall as of the proprietors and miners :
this office he held until 1580.
The death of Edward VI and the succession of Queen Mary
to the throne gave a temporary check to the new nobility which
had profited by the breaking up of the old Church system, and
among them to the Russells.
Francis Russell, who succeeded to the Earldom of Bedford
in 1554, was imprisoned on suspicion of complicity in Sir
Thomas Wyatt's Rebellion, but he managed to escape and fled
to Geneva, where he associated with the leaders of the Protest-
ant movement in Switzerland. We hear of him at Venice in
1557 and again as being present as a Captain in the English
Expeditionary Force at the battle of St. Quentin in the same
year. Mary's death brought the Earl of Bedford back to Eng-
land to resume that successful career which lasted without a
break to his death. He was at once created a Privy Councillor
and took a prominent part in the new settlement of religion
along Protestant lines ; in this connection he was appointed a
commissioner to receive the Oath of Supremacy to the Queen
as head of the Church of England, and to draw up the new
Liturgy.
High and lucrative offices were given to him in succession
— Lord Wardenship of the East Marches of the Borders be-
tween England and Scotland and the Governorship of Ber-
wick, Lord Presidentship of Wales, Chief Justiceship of the
Forests South of the River Trent and others of lesser note.
In 1585 the Earl died at Bedford House in the Strand, a house
built on part of the site of the Convent Garden.
The arms on this medallion are painted in enamel, while the
77
Heraldic Stained Glass
Garter is in pale blue glass with stained ornaments. It comes
from the collection of ancient painted glass once at Dagnam
Park, and it is quite likely that it originally formed one of a
large series of arms of Knights of the Garter.
The medallion from Cassiobury in the right-hand light of
the middle tier of this window contains a shield of the arms of
William Paulet, first Marquess of Winchester, K.G. In the
description of the arms of this nobleman's grandson — William
third Marquess of Winchester — in the Library, we mentioned
his marriage with Elizabeth Capel as constituting a good reason
for the presence of his arms in the cloisters at Cassiobury. It
may also explain why the arms of the first Marquess were put
up there.
This panel must have been painted between January 1549-
50, when Sir William Paulet was created Earl of Wiltshire, and
October 1551, when he was raised to the Marquessate of Win-
chester, for the coronet above the arms is that of an Earl, not
of a Marquess.
With regard to the construction of this medallion, the arms
are in pot-metal wherever that process could conveniently be
used and the rest is abraded glass. The Garter is an interest-
ing piece of work, being made entirely of pale blue glass upon
which the motto and borderings are indicated by yellow stain
outlined in black enamel, a method also used in the treatment
of the charges in the seventh quarter. Among the many quar-
terings which follow the arms of Paulet in this shield we may
single out those of Poynings in the second and St. John in the
fourth quarter as pictorial symbols of exceptional wealth and
influence brought to the Paulets by marriage.
When about the year 1360 Lucas Lord Poynings married
Isabel, the heiress of Hugh Lord St. John of Basing in Hamp-
78
DINING ROOM
PLATE 40
King Henry VII
XVI century
5
1 -
The Stair Hall
shire, the baronies of Poynings and St. John were united. The
baronies were held by the Poynings family until Sir Thomas
Poynings, Lord Poynings and St. John, died without children,
leaving his sister Constance one of the coheiresses to his hon-
ours and estates. Constance Poynings married John Paulet,
the great-grandfather of the Sir William Paulet whose arms
are in this shield, thus bringing her share of the Poynings and
St. John estates to the Paulets. Further, the abeyance into
which the honours held by the last Lord Poynings fell on his
death without issue was terminated in March 1538-39 by the
elevation to the peerage of Sir William Paulet as Lord St.
John of Basing. The estate of Basing was already his, and
there he built a splendid mansion — incorporating in his build-
ing parts of the ancient castle — which became famous for its
grandeur and hospitality until the troublous times of the Civil
War. Then, in 1645, occurred its siege by Oliver Cromwell, a
siege which resulted in the total destruction, ultimately by
fire, of Sir William's magnificent works.
Many are the stories told of the profuse hospitality at Basing
House : once at least the first Marquess of Winchester enter-
tained Queen Elizabeth there, and so magnificently that she is
reported to have said, playfully, on that occasion, * By my
troth, if my Lord Treasurer were but a young man, I could
find it in my heart to love him for a husband before any man in
England.' At another time, in the days of the fourth Mar-
quess, the Queen, while staying at Basing, accorded a State
Reception to the French Ambassador, the Due de Biron, in
whose train were twenty French noblemen and four hundred
retainers. It is not surprising to learn that after this Royal visit
the Marquess was crippled in his resources for many a day.
William first Marquess of Winchester lived to the advanced
79
Heraldic Stained Glass
age of ninety-seven years. All through the days of Henry VIII,
Edward VI, Philip and Mary, and Elizabeth he held his
steady course, escaping the multitudinous dangers and pitfalls
which beset him and which wrecked so many, who began as
happily as he, and brought to ruin fortunes and reputations
which had seemed to promise so fair.
80
DINING ROOM
PLATE 41
Queen Mary
XVI century
THE MEN'S ROOM
ERE are two shields of the early sixteenth cen-
tury, both from Belhus in Essex, that ancient
house which has already been described.
In the first light is a shield with the arms of *f V?~ j
husband and wife — the arms of Barrett quar-
tering Belhus, impaled with those of Dineley
and three other quarterings . This heraldic composition stands
for George Barrett of Belhus and Elizabeth Dineley his wife,
daughter and heiress of Thomas Dineley of Stanford Dineley
in Berkshire. Stanford, nine miles from Newbury, was known
as Stanford Dineley when, in the fifteenth century, the Dineleys
became its lords. This George Barrett was the son of John
Barrett, the builder of the present house at Belhus, who married
Mary Norris : the arms of her parents and grandparents we
have already seen, it will be remembered, at Ronaele Manor.
The arms of Barrett and Belhus have been described before :
with regard to the quarterings which follow the arms of Dine-
ley on the wife's side of the shield, they are all famous in his-
tory. The first is Fitzherbert — three gold lions rampant on a
red field — a family which has produced several men notable in
their day, among them Sir Anthony Fitzherbert, who became
a Judge of the Court of Common Pleas in 1522 and was the
author of those once famous books De Natura Brevium, and
The Grand Abridgment, and whose coat of arms was formerly
in the bay window of the Hall at Gray's Inn.
The second quartering is for Comyn — three gold wheat-
sheaves in a red field — a family prominent among the Barons
and landholders of England all through the Middle Ages, and
the last quarter contains the arms of Stokes — gules, a lion
rampant with a forked tail, ermine — a family long seated in
Berkshire and which held the Manor of Stanford Dineley
l 81
Heraldic Stained Glass
before it. passed, probably by marriage with the heiress of
Stokes, to the Dineleys.
Both this and its companion shield in the next light were
painted by a native English artist, and are entirely abraded,
except the turned-over tops and bases of the shields, which are
pot-metal, blue in the one and green in the other. All this
abraded work is of exceptionally fine character, being boldly
ground off and the charges well spaced in the fields.
The fellow panel to that last described, which is in the
second light, contains the arms of Barrett quartering Belhus.
• 1 1 T» 11 1 •
It was painted and set up at Belhus at the same time as its
companion, and represents the arms of the Barrett-Belhus of
its day — George Barrett, who married Elizabeth Dineley.
82
DINING ROOM
PLATE 42
King Henry VIII
XVI century
SECOND STORY
MR. DIXON'S ROOM
NE look at the old painted glass in this room
turns our thoughts to the sea and to the doings
of ' those who go down to the sea in ships and
have their business in great waters.' They
bring vividly before us the lives and daily
work of those stalwart mariners of the six-
teenth and seventeenth centuries, who, setting their faces to-
wards the sunset, followed their fortune in the small ships of
those days, doggedly steering their way across the ocean until
the sight of land promised new and untried fields for enter-
prise. Long before, in the middle of the fifteenth century, the
Portuguese — the first nation to use the magnetic needle on any
considerable scale for the purpose of navigation — had shown
the way across the watery wastes and thereby stirred up a
spirit of enterprise along all the coasts of Europe which was to
lead to that wonderful extension of commerce throughout the
world which was, perhaps, the most noteworthy feature of the
sixteenth and seventeenth centuries.
Among all the European nations none had so much to gain
from overseas trade as the Dutch. Their homeland, itself re-
claimed from the sea and dependent for its very existence on
the maintenance of defensive works against the never-sleeping
encroachment of the waters, is but a barren heritage ; the soil
is poor, needing constant feeding and unremitting toil on the
part of the husbandmen to make possible a supply of the bare
necessaries of life. For anything beyond this, for refinements
and luxuries, the Dutch must look abroad, and so, impelled
by their necessities, they became a great sea-going people,
and by the middle of the seventeenth century had almost
83
Heraldic Stained Glass
secured a monopoly of the maritime carrying trade of the
world.
Fish and fishing have always held a great place in the activi-
ties of the Dutch, and when, towards the end of the sixteenth
century, the Dutch seamen got used to long ocean voyages, it
was not long before they found their way to the far north-
west to hunt the whale. They were not the first Europeans to
embark in that quest ; Englishmen had visited Greenland for
whale fishing for some years before any Dutch skipper came
so far a-whaling. It is indeed probable that information
about the Greenland whale fishery first reached the Dutch by
way of England, and, if we are to trust the author of Hakluyt's
Voyages , it is certain that in the year 1612 a Dutch ship came
to the Greenland whale fishery with an Englishman aboard,
one Allen Sallowes, * employed to bring them to Greenland
for their pilot.' As, however, the same author, after remark-
ing that there was never heard of any Netherlander that fre-
quented the Greenland seas before 1578, tells of the coming
to Greenland in that year of a Netherlander with the appro-
priate name of Jon de Whale, there can be no doubt that Dutch
whalers had been in the habit of fishing in Greenland waters
long before Allen Sallowes piloted the Dutch ship thither in
1612.
It would seem that from 1612 onwards Dutch whaling in
Greenland waters had become an established custom, for Pur-
chas gives a list of the Dutch ships which came to ' the Island '
in the years 1614 to 1618. In 1614 there were eighteen great
ships from Holland which ' stayed and fished for the whale
perforce/ an expression which almost suggests a state of war
between the Dutch and English. The next year brought the
Hollanders in fourteen ships, and they killed whales in Horn
84
DINING ROOM
PLATE 43
Sir Thomas Moyle
XVI centurv
John, Lord Lovel
XVI centurv
Sir William Norris
XVI century
Mr. Dixon's Room
Sound, Bel Sound and Fair Haven. In 1616 only four ships
came from Holland, and Purchas says that they made a poor
voyage. Ten sail of Dutch ships, one of two hundred tons, and
two men-of-war came to Greenland during the following year,
* to make a voyage upon the whale,' and, lastly, in 161 8, ' great
store of ships of Zealand were on the coast.' Among them
were the Fortune of Camphire, four hundred tons ; Saint Peter
of Flushing, three hundred tons ; the Salamander of Flushing,
three hundred tons ; and the Cat of Delft Haven.
Thus it is clear that Dutch mariners and fishermen of the
sixteenth and seventeenth centuries voyaged far in search of
trade and that their efforts were supported by the naval force
of their country. All this voyaging into far seas by adven-
turers from Europe was not without its effect upon family life
and the arts which ministered to the beauty and refinement of
the home. When Captain Abraham Leverstijk brought the
Cat into Delft Haven with great store of whale oil, we can well
understand the joy of his home folk and the sort of greeting he
would meet with. Among the gifts from his kinsfolk would
be many things for domestic use, all, we may be sure, prettily
designed and decorated by craftsmen, neighbourly folk well
known to Skipper Leverstijk, and it is not to be supposed that
a piece of painted glass commemorating his voyage would be
forgotten. One or more of these little panes, such as we see
at Ronaele Manor, painted in that enamel process which came
into use towards the end of the sixteenth century, would greet
his homecoming, neatly leaded into a window of his house.
Perhaps his ship would be shown leaving Delft, every sail
spread to a fair wind, or its return into harbour with torn sails
and broken spars, evidence of the good ship's battling with
the winds and waves. Such and such like may well be the
85
Heraldic Stained Glass
thoughts inspired by these memorials of long-dead Hollanders
and their perilous voyaging in little known seas.
The Two-light Window
Here are two panels of the sixteenth century : in the left-
hand light is a picture of a Dutch ship with full complement of
sailing power— main mast, fore mast and mizzen — and all its
sails set. It flies the Dutch colours, horizontal stripes of red,
white and blue. Many of the small domestic panels of painted
glass, intended as they were to illustrate the personalities and
occupations of the dwellers in the houses which they adorned,
bore inscriptions, usually below the picture. Sometimes the
inscription is merely the name of the person commemorated,
as in this case, * S chipper Zachala Felix Van Slauerden, 1595/
evidently the Ship Master, but quite long inscriptions are
often met with, some giving minute details of personal traits
or achievements, or particulars of family connections and
the like, and others with biblical quotations, passages from
chronicles or old tales, moral aphorisms, or, supposing that the
subject of the picture has reference to shipping, as so many of
the Dutch panels have, the inscription may give advice on the
management of ships, and, by inference, of ourselves. Thus,
in a window of the Museum at Canterbury is a panel of
painted glass of the sixteenth century showing a Dutch mer-
chantman scudding before a storm with her mainsail furled,
and below this picture is an inscription in Dutch which reads,
* Do not be careless when all goes well, and always carry your
mainsail so small that if mishap befall you you may overcome it.'
The Dutch warship, carrying eighteen guns, under full sail
in the right-hand light is no doubt a fellow to that already
described. The one medallion may be taken to represent the
y 86
RECEPTION ROOM
PLATE 44
&¥£>
' >\
^
Queen Elizabeth
XVI century
:^ • - •■&*
Queen Mary
XVI century
Mr. Dixon's Room
Dutch merchant fleet and the other the navy of Holland, pro-
tector of its trade by sea.
The East Window
Here are two sixteenth-century panes, in one another Dutch
warship of three masts, and in the other a whaling boat
with the body of a whale alongside. This interesting and — in
stained glass — unusual subject must have been painted to keep
in remembrance the capture by a Dutch whaler of a whale of
some dimensions, a lucky catch, perhaps, by one of the Dutch
ships which, as Purchas tells us, * made voyages on the whale '
for so many years in succession. We can only regret that no
inscription records the name of the lucky skipper who brought
so great a prize to land.
South Window
There are two panels of the early seventeenth century in
this window. They both show Dutch warships under sail ; ^? ~ J d
the ship on the left hand is three-masted, armed with twelve ^
guns, and flies the pennant of an admiral, while that on the
right is a smaller schooner carrying two masts only. The con- r
stant occurrence, in Dutch paintings on glass of a domestic
character, of warships, battles at sea and other incidents of
naval warfare seems to indicate a widespread interest on the
part of the Dutch people of the seventeenth century in their
navy and its doings, an interest which we can well understand
when we remember how entirely dependent were the Dutch
upon sea power for the maintenance of their trade and the
position of Holland among the nations of Europe.
87
n-7
( tJ6 PC4T^
THE BOUDOIR
E come now to Dutch heraldry of the seven-
teenth century in the form of two small oval
medallions, set side by side. In the left-hand
light the shield is within a wreath, and the
whole is set in ornamental cartouche work.
The inscription, with the date 1621, in the
base of the panel, tells that the man whose arms are on the
shield was one Matthew Van Dormael.
The medallion in the right-hand light contains a shield bear-
ing a sheaf of wheat and set in an ornamental cartouche.
After the successful revolt in the sixteenth century of the
seven Provinces of the Netherlands against the power of Spain
and the feudal Princes by whom they had been ruled for so
many centuries, and the establishment of the Republic known
as the States of Holland, the use of coats of arms became
democratised, and we find heraldic devices borne by all and
sundry. The craftsman showed the tools of his craft on a
knightly shield, and the husbandman the implements of hus-
bandry. The fact that heraldry on the Continent had never
been regulated by a College of Heralds, with compulsory
powers to deal with offenders against the law of arms, as was
the case in England, accounts very largely, no doubt, for this
popular use in Holland of heraldic insignia. It is true that
most great feudal lords had their own official heralds, but such
officers of arms were employed more in embassies to, and
negotiations with, other princes than as professors of the
science of heraldry, so that even in feudal times there was no
authority other than that of the Prince himself to regulate and
restrain the use of coat-armour. Hence we may fairly surmise
that this shield bearing a wheatsheaf pertains to a Dutch
farmer of the seventeenth century, who shows, by the selec-
88
RECEPTION ROOM
PLATE 45
Badge of King Henry VII
XVI century
s
The Boudoir
tion of wheat as his device, his full appreciation of its office as
the staff of bread, as it is called in Holy Scripture, because it
upholds the very being of mankind.
M
89
MRS. DIXON'S ROOM
PIECE of typical English work of the fif-
fflPU^^SSfefi teenth century claims attention in the south-
i rzj S^B^^^m!? east wm<^ow — a shield in painted glass bearing
the arms, azure three ducks9 or ' shovellers* '
heads erased argent, of Sir John Lacy, a mem-
ber of a family long seated in Cornwall and
other parts of the West of England. The blue glass of the
field is pot-metal of a fine tone, and the quaint treatment of
the birds* heads is very charming. It will be noticed that the
ducks' heads in this shield bear a resemblance to the swans'
necks in the arms of Bishop Lacy which we have seen in a
window of the Morning Room, and the colour of the field is
the same in both shields. Each bears the coat-armour of a
Lacy, though the charges are different, an example of varia-
tion, common in all periods, between the arms borne by
different branches of the same family.
The other example of stained glass in this room is in the bay
r o window — a very beautiful presentment, in the form of a six-
teenth-century, circular, enamel-painted medallion within a
border, of one of those events in the life of our Lady which have
ever appealed to the highest and best in man — the consumma-
tion of Mary's mission as Mother of God in her Coronation in
Heaven by her Divine Son. The mysteries of the Assump-
tion— the death of the Blessed Virgin Mary — and her Corona-
tion in Heaven were usually combined in one picture by the
art of the Middle Ages, though they were, in some examples,
treated separately by Fra Angelico and other painters : the
Coronation grew naturally, considering who Mary was and
what was her relation to Divinity, out of her earthly death.
Below we see the empty tomb, the Apostles standing around
and gazing heavenwards ; above is the final scene, Mary
90
ENTRANCE HALL
PLATE 46
Badge of King Henry VII
XVI century
Mrs. Dixon's Room
enthroned with bowed head beside her Son, or kneeling before
Him, receiving the crown which He extends towards her,
while the heavenly host — Cherubim and Seraphim, Princi-
palities and Powers and all the orders of angels — rejoice and
sing praises to the Queen of Heaven.
While this dual arrangement was adopted in most pictures
of the Middle Ages in accordance with the mediaeval idea of
multiplying legends and combining one with another, we find
that as the fifteenth century advanced the tendency was to
treat the two subjects, the Assumption and the Coronation,
separately, though there are not wanting in all periods ex-
amples of their inclusion in one picture. The cause of this
gradual change from combined to separate treatment is to be
sought in the critical spirit of the Renaissance — one of selec-
tion and modification, of rejection here and separation there.
While to the mediaeval mind the stories which make up the life
of Mary were parts of a united whole, one growing out of the
other — a process of legitimate development — the influence of
the Renaissance worked in the direction of separating each
tale from those which preceded and followed it, and treating
it both in literature and art without obvious relation to its
fellow legends ; it would not be difficult to apply this line of
thought to a consideration of developments inspired by the
Renaissance of matters outside the domain of art.
9i
jo-0*
W-b
MISS DIXON'S ROOM
O subject came amiss to the old glass painters :
not only material things, such as can be seen
and handled, but mere conceptions of the
mind, the senses, the passions and all attributes
of gods and men, the heavenly hierarchy and
8lthe fallen angels, all are found personified in
ancient window lights. Those natures called inconstant by
the old authors, ' Bodily essences of small continuance by
reason of their ignoble or base substance,' as old Gwyllim
writes, the Elements — they too are seen in old paintings on
glass.
The Elements, to which the constituents of all substances can
in the last resort be reduced, were believed by the ancients to be
Fire, Air, Water and Earth, and when artists of old times came
to represent these supposed Elements in pictorial form, it was
soon found that they were tolerant of much variety in con-
ception and treatment. The old rhyme was often taken as a
guide : —
* Fire, Winter's treasure ; Water, Somer's pleasure.
But the Earth and Air, none can ever spare.'
Thus Water would be suggested, perhaps, by a bright land-
scape with figures seated by a spring or fountain or, as in the
second light of the window in this room, by an amorino pour-
ing water from a jar into a stream, and for Fire we may see a
group round the blazing hearth, or perhaps that element may
be symbolized by a cherub issuing from clouds grasping darts
of lightning, as shown in the third light. Sometimes in pic-
tures of the Elements the idea of them is prompted in a nega-
tive way : for example, a wintry scene with a figure closely
wrapped up suggests a craving for warmth and may be meant
92
ENTRANCE HALL
PLATE
47
Badge of King Henry VII
XVI century
ft
Miss Dixon's Room
for the fiery element. Obvious need of a thing prompts the
idea of the thing needed.
The favourite method of treating the Element Air is by a
human face, issuing from clouds, blowing violently over a
landscape, like the design in the fourth light. In the first light,
however, Air is treated less simply : a winged figure descends
towards the Earth while a cloud bursts in the air over two
figures below. Earth is usually represented by a mountain or
high rock, but in the fifth light the subject is highly developed;
an amorino is seen in a cornfield holding a basket of fruit. To
all such pictures of the Elements is often added an inscription
at the foot — a verse from the Bible, or other old book, sugges-
tive of the Element portrayed — or there may be merely the
name of the Element on the picture itself, as we see on these
enamelled panes.
Scattered over the lower lights of this window are five seven-
teenth-century panes painted in enamel colours with represen-
tations of the Elements treated in the manner which we have
described.
93
52-90- */
rtvoptATf5)
?c-e^
MR. DIXON JUNIOR'S ROOM
HE seven Dutch panes of the seventeenth cen-
tury in the lower lights are all, with one excep-
tion, concerned with bird life. The Dutch
have always loved the birds, and long before
other nations thought of legislation for their
protection, strict regulations on the subject
existed in Holland, making molestation of birds and their
nests punishable by fine. We can, therefore, well understand
that pictures of birds, some painted in grisaille heightened
with yellow stain only, and others in bright enamel colours,
like those before us, would be popular as window decoration
among the Hollanders. Some would be on perches in natural
attitudes, others, like the bird drawing water in this window,
doing man-taught tricks.
Two of these panes, those with the stork, are of special in-
terest, by reason of the high estimation in which this bird is
held by Dutch folk. All travellers in Holland have been struck
by the sight of the huge storks' nests on the house-tops — some
on boards elevated above chimneys and others on cartwheels
on roofs. The stork has come to be in Holland a symbol of
family life and the home, and no Dutchman will do the bird
injury or allow others to molest it or its nest. The oft-repeated
story of the Storks of Delft, made famous by Dutch poets,
comes to mind — that which tells how, when in 1536 a great
fire destroyed a large part of Delft, the storks were seen bear-
ing their young to safety, and how those that were unable to
do this chose rather to perish in the flames with the young
birds than to desert them.
The pane with the horseman holding a pistol belongs to a
type very common in the windows of old Dutch houses. They
are not always military in character but represent every sort
94
STAIR HALL
PLATE 48
Edward, Prince of Wales
XVI century
Mr. Dixon Junior's Room
of wayfarer. On some of them we see itinerant merchants with
packs of goods before and behind their saddles, and on others,
horse soldiers in steel cap and corselet, all on the road.
95
THE WEST ROOM
ERE are four enamel-painted panes of the
seventeenth century from a window of an old
Dutch house, suggesting ideas for four of the
months — June, September, October and No-
vember.
From the earliest times decorative art has
taken its motif from the passing of the months, the changing
seasons and the occupations incidental to them. In architec-
tural carving in wood and stone, in painted glass, in illumin-
ated manuscripts and in things for domestic use — platters,
dishes, drinking cups, and so forth — we find evidence that the
doings of man as the seasons passed ever attracted the mediae-
val craftsman in choosing subjects for his work.
Work in field and forest — those earliest activities of civilized
man, upon which all others depend — was the main inspiration
of the mediaeval artist when he came to set forth the occupa-
tions of man through the year ; but in proportion as art came
under the influence of the Renaissance the artist took his
ideas more from classical story, astronomy, or climatic con-
ditions as they changed with the revolving seasons than from
the operations of agriculture. Thus from the eleventh to the
sixteenth centuries a series of pictures, whether in painted
glass or any other form of decoration, showing the occupations
of the months would start in March with a picture of a man
digging and sowing, pass on through the various doings of hus-
bandmen as the months went by — such as sheep-tending in
May, felling trees in June, hay harvest in July, corn harvest in
August, and so forth — to ploughing and sowing in January
and tree pruning in February.
In contrast to this mainly agricultural treatment of the sub-
ject of man's work through the year we find that in the seven-
96
STAIR HALL
PLATE 49
Henry Stanley,
Earl of Derby
$*g&
Queen Elizabeth
XVI century
f
Henry Ratcliff,
Earl of Sussex
The West Room
teenth century, and onwards for fifty years or thereabouts, the
decorative treatment of the subject showed a tendency to ig-
nore the manual labours of men in favour of the doings of
heathen gods and heroes, stories popularised by the revival of
Classicism. A further development of idea came about the
middle of the sixteenth century with increased interest in
astronomy, and the heavenly bodies and zodiacal signs were
pressed into the service of picturing the passage of time as
measured by the months and seasons.
N
97
T?
7£
THE NORTH ROOM
N this room are four Dutch panes of the seven-
teenth century similar in type to those in the
West Room, and, like them, charmingly painted
in enamel colours. They suggest to us ideas,
along the lines which we have indicated in
speaking of their fellow panels in the West
Room, applicable to the months of January , February, March
and April.
98
STAIR HALL
PLATE 50
King Henry VIII
as Sovereign of the Order of the Garter
XVI century
THE NORTH-EAST ROOM
HE three Dutch panes of seventeenth-century
enamel-painted glass in this room transport us
to Arcady, the land of pastoral delights, verdant
lawns and rippling brooks, where in a climate of
perpetual spring shepherds and shepherdesses
tend their flocks, make love in verse, and pipe
and dance the livelong day.
Here we have three little pictures — the first a kneeling shep-
herd, the second a landscape, and the third Strephon, the Ar-
cadian shepherd swain. Small panels in painted glass such as
these, inspired by Arcadian ideals, were common not only in
Holland but in all European countries from the sixteenth to
the eighteenth century. Like the pastoral poetry, and much of
the art of the same period, the ideas which prompted them
sprang from the Renaissance and later took form in Dresden
China.
- 1
- f&~
£'
5"*2 '
• £
CA/o
99
AN ARMORIAL
The Coats of Arms — Principal Arms and Quarterings — on
the Shields in the Heraldic Windows, reading in all cases from
left to right.
MORNING ROOM
North Window
John Dudley, Duke of Northumberland, K.G. Dudley
quartering Bydford, Grey, Hastings, Malpas, Somery, Ferrers,
de Valence, Belisme, Talbot, Newburgh, Beauchamp, Berkeley,
de Lisle and Warine de Lisle. The escutcheon: Guilford
quartering Haldane.
King Henry VIII. France quartering England.
King Henry VIII. France quartering England.
°P Sir William Parr, K.G., Earl of Essex. Parr quartering Ros,
Fitzhugh, Marmion, Green, Hondon, St. Quentin, Furneaux
and Gernegan.
Bay Window
Upper Tier
- 9 pi ■ S\, Edmund Lacy, Bishop of Exeter.
- 1 f>t. i. The Arms of France.
Sir Roger Fiennes. Fiennes impaling Holland.
Edward, Prince of Wales (The Black Prince). France quar-
fyYi /) tering England, with a silver label.
'^jFl-y P*^ The Arms of France.
The City of Norwich. With Edward IV's badge of the Sun
in splendour.
,an. r John Grandison, Bishop of Exeter.
' Lower Tier
^ ^l7King Edward III. France quartering England,
ioo
STAIR HALL
PLATE 51
William Cecil,
Lord Burghley
Robert Dudley,
Earl of Leicester
King Henry VIII
XVI century
An Armorial
King Edward III (or King Richard II). France quartering St
England.
Two-light Window
Edward, Prince of Wales (afterwards King Edward VI). $3'
France quartering England, with a silver label.
King Henry VIII. France quartering England.^
THE LIBRARY
First Three-light Window
John Barrett of Belhus. Barrett quartering Belhus. &J" /3> /
Arthur Grey, 14th Baron Grey of Wilton, K.G., Grey of jf;?
Wilton quartering Glanville, Fitzhugh, Longchamps, de la
Vache, Grey, Hastings, Cantilupe, Scotland, Braose, Mus-
champ, de Valence, Montchesney, Marshall, Fitzosbert and
Hastings.
Sir Edward Norris. Norris quartering Mountford and im-
paling Lovel quartering Deincourt, Burnell and Holland. fiL' /6
Second Three-light Window
Robert Ratcliff, 5th Earl of Sussex, K.G. Ratcliff quarter- Sf' f
ing Fitzwalter, Lucy, Moulton, Burnell and Mortimer.
Sir Giles Capel. Capel quartering Sir Richard de Capele. ^"^ '
George Clifford, 3rd Earl of Cumberland, K.G. Clifford
quartering the * Clifford Augmentation/ Bromflete, Vesci, &*'
Flint, Vipont, Alton and St. John.
First Two-light Window
William Paulet, 3rd Marquess of Winchester. Paulet quar-SJ-
tering Creedy, Delamere, Hussey, Poynings, Rokesley, Criol, rf 2
Crevequer, St. John, Port, Auberville, Hay, Ros, Skelton,
Orreby and Delamere and impaling Howard, quartering
101
,3 7
:v?Sr ?l?
iPMe
Heraldic Stained Glass
Broughton, Moore, Dawson, Peyver, Beauchamp, Hodnett,
Beaupel, Salway , Mortimer, Bewley, Barnack, Engaine, Hussey ,
Berkeley and Allfrey.
Sir Francis Knolles, K.G. Knolles of Oxfordshire quarter-
ing Knolles of Lincoln.
Second Two-light Window
Sir Edward Coke, Lord Chief Justice of England. Coke
quartering Holme, Pillett and Paine and impaling Cecil quar-
tering Winston, Carlyon, Heckington and Walcot.
Thomas Cecil, ist Earl of Exeter, K.G. Cecil quartering
Winston, Carlyon, Heckington and Walcot and impaling
Nevill quartering Nevill (ancient), Fitzalan, Boteler, Glanville,
Beauchamp, de Vere, Berners, Hume, Basset, Badlesmere,
Sergeaux, Howard, Scales, Playz, Stafford and Swinfen.
Third Two-light Window
Thomas Manners, Earl of Rutland. Manners with ' Aug-
mentation ' quartering Ros, Espec, Trusbut, Beauchamp,
Newburgh, Berkeley, Warine de Lisle, Gerard de Lisle, Hol-
land, Tip toft, Charlton, Badlesmere, Vaux, Albini and Gren-
don.
Henry Clinton, 2nd Earl of Lincoln. Clinton quartering
- Say.
Fourth Two-light Window
Ambrose Dudley, Earl of Warwick, K.G. Dudley quarter-
^ ing Bellamont, Somery, Malpas, Grey, Hastings, de Valence,
Ferrers, Ferrers of Groby, Earldom of Chester, Lee, Beau-
champ, Newburgh, Berkeley, Warine de Lisle and de Lisle and
impaling Russell quartering de la Tour, Muschamp, Badisford,
Frocksmere, Wise, Sapcote and Herring.
102
STAIR HALL
PLATE 52
Robert Dudley,
Earl of Leicester
Ambrose Dudley,
Earl of Warwick
Thomas Ratcliff, Earl of Sussex
XVI century
An Armorial
Thomas Wentworth, Lord Wentworth. Wentworth quarter-
ing Spencer, Montfitchet, Newman, Vyrey, Tiptoft, Badles-
mere, Hawley impaling Green, St. John impaling Fitzhugh,
Nevill, Gernegan, Monthermer, Holland, Tiptoft, de la Pole,
Inglethorpe, Bradstone, Kyrby and Harnhull.
THE LIVING ROOM
The First Bay Window
King Henry VIII. France quartering England.-^- ~ 3f/fi*7 /■
Erlye impaling Clederowe.
King Henry VIII. France quartering England. -HO, pi
Thomas, Baron Audley of Walden. 5^
Queen Katherine Parr. France quartering England and
impaling Parr with the * Augmentation/ quartering Ros, Mar-
mion, Fitzhugh and Green.
The Second Bay Window
Paulet of Edington, Wiltshire. Paulet quartering Ros, Poyn- £2
ings, St. John, Strange, Hussey, Leicester, Erlye and Dela-
mere.
Paulet of Edington. Paulet impaling Clederowe. sr 2 ■ . 3 3,
Edward, Prince of Wales (afterwards King Edward VI).
France quartering England, with a silver label. £3 - 9c - </$ , /i 3H /
Edward, Prince of Wales (afterwards King Edward VI).
France quartering England, with a silver label. 5<2 -f*-V6f
Seymour of Sudeley. Seymour quartering Beauchamp of
Hache, Esturmy, Macwilliam and Coker. '% /i 3 (e ?.-
THE DINING ROOM
Bay Window
Sir John Hungerford. Hungerford (i.e. Hey tesbury quarter- S o. -9
103 pLt 37 f.ifio
Heraldic Stained Glass
ing Fitzjohn) quartering Burnell and Bottetort impaling Fetti-
place.
Thomas Hungerford. Hungerford quartering Burnell and
Bottetort and impaling Halle of Salisbury.
Jp,¥£ Sir Walter Hungerford, Baron Hungerford, K.G. Hunger-
ford impaling Peverell.
Edward, Prince of Wales (afterwards King Edward VI).
France quartering England, with a silver label.
Thomas Hugford of Dixton. Hugford quartering Dixton
and impaling Hungerford quartering Burnell and Bottetort.
^ Sir Anthony Hungerford. Hungerford quartering Langley
and Longley and impaling Hungerford quartering Burnell and
Bottetort.
Henry Courtenay, Earl of Devon and Marquess of Exeter.
France quartering England and quartering Courtenay and Red-
vers.
The Window on the Left of the Fireplace
King Henry VII. France quartering England.
'? p. „j /7 Queen Mary I. France quartering England.
King Henry VIII. France quartering England.
The Window on the Right of the Fireplace
Sir William Norris. Norris quartering Mountford and im-
/' paling de Vere quartering Howard.
Sir Thomas Moyle. Moyle quartering Moyle of Chester,
Luccombe and Kayle and impaling Stanley quartering Lathom,
Stafford, Arden and Camvile.
John, Lord Lovel. Lovel quartering Deincourt, Burnell,
}-53,pL>f3 104
P,SO
STAIR HALL
PLATE 5:
Arthur,
Lord Grey of Wilton
Francis Russell,
Earl of Bedford
69-2? t
William Paulet, Marquess of Winchester
XVI century
An Armorial
and Holland and impaling Beaumont quartering Comyn of
Badenoch, Bardolph and Philip, Lord Bardolph.
THE RECEPTION ROOM
Three-light Window
Queen Elizabeth . France quartering England .-52 ~ '" / ' > pi* > ff P<
Queen Mary I. France quartering England. &2 ~ 7<>-£T p/ yy /?.s~t
A Badge of Henry VII, the portcullis, s^l - 90-/¥t p^ t i/y~ p g-f
THE ENTRANCE HALL
A Royal Badge. The Red Rose with a White Rose in pre-
tence, fj - ?o-m Pi ^,P.S~3
A Royal Badge. The Red Rose and a White Rose dimi-
diated. $2~90~2?> PI 1/7 /VV
THE STAIR HALL
The Bay Window
{Upper Tier)
Edward, Prince of Wales (afterwards King Edward VI).
France quartering England, with a silver label. $£- ?0- Si 'pibg fi.sS"
Henry Stanley, 4th Earl of Derby, K.G. Stanley quartering
Lathom , the Isle of Man , Warrenne , Strange , Wy dville , Mohun p *Tt
and Monhaut. Pl4t£ */9 , P-£k
Queen Elizabeth. France quartering England.
The King of England as Sovereign of the Order of the Gar- 6
ter. France quartering England impaled with the Cross of St.
George.
Henry RatclirT, 2nd Earl of Sussex, K.G. RatclifT (quar-
tering Fitzwalter) quartering Burnell, Lucy and Moulton. PU ? fy\
King Henry VIII. France quartering England. SJ~fo-£y
0 I05 /»/, !TJ fj?
Heraldic Stained Glass
Middle Tier
William Cecil, Lord Burghley, K.G. Cecil quartering Win-
ston, Carlyon, Heckington and Walcot.
Robert Dudley, Earl of Leicester, K.G. Dudley quartering
Bellamont, Sutton, Malpas, Grey, Hastings, de Valence,
Ferrers, Ferrers of Groby, Braose, Talbot, Beauchamp, New-
burgh, Berkeley, Warine de Lisle and de Lisle.
Thomas Ratcliff, 3rd Earl of Sussex, K.G. RatclirT quarter-
ing Fitzwalter, Cecil, Bottetort, Lucy, Moulton, Mortimer
and Sudeley (impaling Boteler).
Robert Dudley, Earl of Leicester, K.G. Dudley quartering
Bellamont, Somery, Malpas, Grey, Hastings, de Valence,
Ferrers, Ferrers of Groby, Earldom of Chester, Talbot,
Beauchamp, Newburgh, Berkeley, Warine de Lisle and de
Lisle.
pi 41, Ambrose Dudley, Earl of Warwick, K.G. Dudley quarter-
ing Bellamont, Somery, Malpas, Grey, Hastings, de Valence,
Ferrers, Ferrers of Groby, Earldom of Chester, Talbot,
Beauchamp, Newburgh, Berkeley, Warine de Lisle and de
Lisle.
S 3 Arthur, Lord Grey of Wilton, K.G. Grey of Wilton quarter-
ing Longchamps, Rockley, Grey, Clare, de la Vache, Grey,
Grey, Hastings (quartering de Valence) and Hastings.
Pi Francis Russell, Earl of Bedford, K.G. Russell quartering
de la Tour, Muschamp, Herring, Wise, Frocksmere, Sapcote
and Seamark.
William Paulet, 1st Marquess of Winchester, K.G. Paulet
quartering Ros, Poynings, St. John, Erlye, Hussey, Leicester
and Delamere.
106
An Armorial
THE MEN'S ROOM
George Barrett of Belhus. Barrett quartering Belhus and^
impaling Dineley quartering Fitzherbert, Comyn and Stokes. ffVo **L'
George Barrett of Belhus. Barrett quartering Belhus.
MRS. DIXON'S ROOM
Sir John Lacy of Cornwall. 6" 2-
107
INDEX
Admiral, Lord High, 21, 36
Agincourt, Battle of, 7, 43
Albini, Arms of, 102
Allfrey, Arms of, 102
Alton, Arms of, 101
Anne (Plantagenet), Princess, 28
Antholin, St. : Church of (London),
23 .
Arcadian ideals in stained glass, 99
Arden, Arms of, 49, 104
Arms, Adoption cf, 56, 57
Arms, College of, 52
Ashburnham family, 58
Ashridge, 9, 18, 30, 31, 36, 53, 60,
63, 64, 67, 68, 70, 72
Assumption of Our Lady, 90
Attorney- General, 25
Auberville, Arms of, 101
Aubrey, John, 42
Audley of Essex, Arms of, 34
Audley, Barons of, 57, 58
Audley End (Essex), 35
Audley, Margaret, 35
Audley of Staffordshire, Arms of, 57
Audley, Thomas, Lord, 34-35, 103
Augmentations, Court of, 49
Ayscough, John, 19
Badges, 10, 44, 51, 52, 53, 54, 71,
100, 105
Badlesmere, Arms of, 32, 102, 103
Bamville, Arms of, 57
Bamville, Joan, 57
Banbury, Earl of, 24
Bardolph, Arms of, 50, 105
Bardolph, Philip Lord, Arms of, 50
Barnack, Arms of, 102
Barrett, Arms of, 14, 81, 82, 101, 107
Barrett, George, of Belhus, 81, 82
Barrett, John, of Belhus, 14, 48, 50,
81
Barrett, John, of Hawkhurst, 14
Barrett-Lennard, family, 14, 48
Basing House (Hampshire), 79
Basset, Arms of, 102
Bear, chained, heraldic supporter of
Dudley Arms, 30
Beauchamp Chapel, Warwick, 31
Beauchamp, Arm3 of, 39, 100, 102,
103, 106
Beauchamp, Richard, Earl of War-
wick, 31
Beauchamp Tower, Dudley wall
panel in, 1, 30,68
Beaufort, John, Marquess of Dorset,
52
Beaufort, Margaret, 52
Beaufort, Motto of, 52
Beaumont, Arms of, 50, 105
Beaumont, Joan, 50
Beaupel, Arms of, 102
Bedford, Earldom of, 75, 76
Bedford, Francis Russell, Earl of, 18,
Bedford House, London, 77
Bedfordshire, Sheriff of, 76
Bel Sound (Greenland), 85
Belhus, Alice, 14
Belhus, Arms of, 14, 81, 82, 101, 107
Belhus (Essex), 7, 9, 14, 48, 50, 57,
81,82
Belhus, John, 14
Belisme, Arms of, 100
Bellamont, Arms of, 102, 106
Berkeley, Arms of, 100, 102, 106
Berkhamstead, Church of, 18
Berners, Arms of, 102
Berwick, 77
Bewley, Arms of, 102
Birds in stained glass, 94
Biron, Due de, French Ambassador,
79
Black Prince, Edward the, 7-8
Black Rod, Gentleman Usher of, 23
Boar, White, Badge of Richard III, 71
Bodmin (Cornwall), 49
109
Index
Bolton Castle, 24
Bolton, Dukes of, 20
Bonhommes, Friars, Order of, 18, 19,
36
Bootle, family of, 58
Border fights between England and
Scotland, 22
Boreham Church (Essex), 62
Bosworth Field, Battle of, 71
Boteler, Arms of, 70, 104, 106
Boteler, Baron of Warrington, 70
Bottetort, Arms of, 42, 44, 70, 104, 106
Bourne (Lincolnshire), 65
Bradstone, Arms of, 103
Braose, Arms of, 15, 101, 106
Bridgwater, Duke of, Francis, 19
Bridport (Dorset), 75
Brill, Governor of the, 27
Bromflete, Arms of, 101
Broughton, Arms of, 102
Brownlow, Earl, 19
Brydges, Frances, Countess of Exeter,
28
Buckingham, Duke of, v. Stafford,
Edward
Buckingham, Duke of, George
Villiers, 25
Buckinghamshire, Sheriff of, 26
Burghley House, 27, 28, 66
Burghley, 1st Lord, v. Cecil, Sir
William
Burnell, Arms of, 42, 44, 50, 101 , 104,
105
Burnell, Sir Edward, 42
Burnell, Margaret, 42
Bydford, Arms of, 100
Cadency, heraldic mark of, 36, 37
Cadiz, Siege of, 16, 69
Cambridge, King's College Chapel,
12
Cambridge, St. John's College, 65
Camvile, Arms of, 49, 50 104
I IO
Cantilupe, Arms of, 15, 101
Canting heraldry, 49
Capel, Elizabeth, 21, 78
Capel, family of, 1, 16, 21, 29, 31
Capel, Sir Giles, 16, 101
Capel of Hadham, Arthur, Lord, 16,
29
Capel, Sir Henry, 29
Capel, Sir William, 16
Capele, Sir Richard de, 16, 101
Carlisle Castle, 24
Carlyon, Arms of, 67, 102, 106
Cassiobury, 1, 14, 15, 16, 18, 21,
29>3i.46>51»78
Catesby, Sir William, 71
Caversham (Oxfordshire), 24
Cecil, Arms of, 26, 64, 65, 67, 102,
106
Cecil, David, 64, 65, 67
Cecil, Elizabeth, 26
Cecil, family of, 64
Cecil, Richard, 64, 65
Cecil, Sir Robert, 67
Cecil, Thomas, 1st Earl of Exeter,
26-28
Cecil, Sir William, 1st Lord Burghley,
25, 26, 27, 64, 65-68, 76
Chamberlain of Royal Household,
24. 3i > 7}
Chamberlain, Thomas, 19
Chancellor of England, Lord, 19, 34,
73
Chandos, Lord, 28
Charles 1, 16, 25
Charles II, 76
Charlton, Arms of, 102
Cheney, Henry, Lord, 19, 20
Cheney, Jane, Lady, 19, 20, 31
Chequers, the, a tavern sign, 59
Chequers (Wendover), windows at,
13
Cherhill (Wiltshire), 41
Chester, Arms of, 102, 106
Index
Cholsey (Berkshire), 24
Cirencester (Gloucestershire), 45
Civil War, 79
Clare, Arms of, 106
Clederowe, Arms of, 33, 37, 38, 103
Clifford, Arms of, 17, 10 1
Clifford, George, Earl of Cumber-
land, 17, 60
Clifford, heraldic augmentation of,
17, 101
Clifford, Margaret, 60
Clifton Camvile (Staffordshire), 49
Clinton, Arms of, 29, 102
Clinton, Henry, 2nd Earl of, 29
Clinton, John, Lord, 29
Coke, Arms of, 26, 102
Coke, Sir Edward, 25-26
Coker, Arms of, 39, 103
Collingbourne, William, 71
Commander-in-Chief, 27
Common Pleas, the Court of, 25, 49,
81
Commons, Speaker, House of, 41, 43,
49
Comyn, Arms of, 81, 105, 107
Comyn of Badenoch, Arms of, 50
Convent Garden, The, 76, 77
Coombe Abbey (Warwickshire), 47
Cork, City of, 75
Cornwall, Duchy of, 77
Cornwall, Edmund, Earl of, 18
Coronation of Our Lady, 90
Costessey Hall, 10
Coteswolde, 42
Courtenay, Arms of, 46, 104
Courtenay, family of, 40, 43
Courtenay, Henry, Marquess of
Exeter, 40, 43, 45
Courtenay, Sir Philip, 43
Courtenay, Robert, Baron of Oke-
hampton, 46
Courtenay, Sir William, 45
Covent Garden Market, 76
Craven, Countess of, 47
Creedy, Arms of, 21, 101
Creedy (Devonshire), 20
Creedy, Sir John, 20
Crevequer, Arms of, 101
Crew, Sir Randolph, 19
Cricklade (Wiltshire), 45
Criol, Arms of, 10 1
Cromwell, Oliver, 79
Crown Manors, Bailiff of, 64
Croy, Castle of, 73
Croyland Abbey, 65
Culceth, family of, 70
Cumberland, George Clifford, Earl
of, 17
Dagnam Park, 6, 7, 44, 51, 61, 78
Dawson, Arms of, 102
Deincourt, Arms of, 50, 101, 104
Delamere, Arms of, 36, 101, 103, 106
Delapole, Arms of, 32, 103
Delatour, Arms of, 102, 106
De Natura Brevium, Fitzherbert's, 81
Denbigh, Barony of, 68
Derby, Charlotte de la Tremouille,
Countess of, 58
Derby, Earls of, 49, 56, 57, 58, 59,
60,71
Devon, Earl of, v. Courtenay, Henry,
and Redvers, William
Dicklestone or Dixton (Gloucester-
shire), 44
Dineley, family and Arms of, 81, 82,
107
Dineley, Elizabeth, 81, 82
Dineley, Thomas, 81
Dormael, Matthew Van, 88
Dorset, Marquess of, v. Beaufort,
John, and Grey, Thomas
Downe Company (Wiltshire), 41, 42,
44. 45 » 46
Downe, Earl of, 37
III
Index
Dudley, Ambrose (Earl of Warwick),
i, 30-1, 70,72, 102
Dudley, Edmund, 2, 74
Dudley, family and heraldry of, 1-3,
30, 68-70, 72, 100
Dudley, Guilford, 1, 4, 30, 62
Dudley, Henry, 1
Dudley, heraldic supporters of, 30
Dudley, Jane, Duchess of North-
umberland, 3
Dudley, John, purchaser of Ashridge,
Dudley, John, of Atherington, 2
Dudley, John, Baron of, 2
Dudley, Lord John, 1, 68
Dudley, John, Duke of Northumber-
land, 1, 3,4, 66, 68
Dudley, Oliver, 2
Dudley, Sir Robert, 69
Dudley, Robert, Earl of Leicester, 1,
30, 68, 72, 106
Dudley Wall-panel in Beauchamp
Tower, 1
Dudley, William, Bishop of Durham,
2
Dutch heraldry, 88-89
Dutch Maritime trade, 83-87
Dutch Navy, 85, 86, 87
Dutch Whaling Expeditions, 84-87
Earls Colne (Essex), 34
East Marches, Lord Wardenship of
the, 77
Eastwell Court (Kent), 49
Edinburgh, Siege' of, 27
Edington (Wiltshire), 36, 37, 38
Edward the Black Prince, 7-8
Edward I, 70
Edward III, 3, 9, 23, 29, 55, 100, 101
Edward IV, 10, 28, 45, 46, 54, 55, 73
Edward VI, 1, 11, 18, 21, 23, 31,
37, 38, 40, 44, 56, 60, 62, 65, 66, 76,
77,80, 100, 101, 103, 104, 105
112
Edward VII, 23
Edward, St., Chapel of, at Windsor,
55
Effingham, William Howard, Baron
of, 20
Egerton, Thomas, Baron of Ellesmere,
19,67 • . , 1
Elements, The, in stained glass, 92,
93
Elizabeth, Queen, 15, 17, 18, 21, 23,
24, 27, 30, 31, 51, 60, 61, 62, 66, 67,
68,69,71,72,75,79,80, 105
Elizabethan Seamen, 17
Emperor, The, 69
Empire, Holy Roman, 69
Enamel Painting, 5, 15, 16, 18, 22,
26, 28, 30, 60, 67, 70, 72, 74, 77, 85,
9°>.93>94> 96>98>99
Engaine, Arms of, 102
England, Lord Chief Justice of, 25
England, Prime Minister of, 13, 74
English Whaling Expeditions, 84
Equity, Court of, 19
Erlye, Arms of, 33, 36, 103, 106
Espec, Arms of, 102
Essex, Earl of (Capel), 1
Essex, Earls of (Devereux), 69
Essex, Earl of (Parr), 4
Esturmy, Arms of, 39, 103
Ewelme, Hospital at, 66
Exeter Cathedral, 10
Exeter, Marquess of, v. Courtenay,
Henry
Exeter, Thomas Cecil, 1st Earl of, v.
Cecil, Thomas
Fair Haven (Greenland), 85
Farley (Somersetshire), Castle and
Manor of, 41
Fens, The, 64
Ferrers, Arms of, 100, 102, 106
Fettiplace, 40, 104
Fiennes, Arms of, 7, 100
Index
Fiennes, Sir Roger, 7
Fitzalan, Arms of, 102
Fitzherbert, Arms of, 81, 107
Fitzhugh, Arms of, 5, 15, 36, 100,
ior, 103
Fitzjohn, Sir Adam, 41
Fitzjohn, Arms of, 42, 44, 104
Fitzosbert, Arms of, 15, 101
Fitz Walter, Arms of, 70, 105
Fitz Warren, Arms of, 32
Flemish Glass Painters, 12, 33, 40,
46>55>56>°i>03
Flint, Arms of, 17, 10 1
Flodden, Battle of, 22
Flower, Barnard, 12
Forests, Chief Justiceship of the, 77
France, Arms of, 3, 6, 8, 44, 47, 100
Frocksmere, Arms of, 102, 106
Froissart (Chronicler), 23
Furneaux, Arms of, 100
Garter King of Arms, 42
Garter, Knights of the Order of the,
4, 15, 16, 17, 21, 24, 43, 55, 56,
58, 60, 61, 62, 68, 70, 72, 74, 75, 78
Garter, Lieutenant of the Order of
the, 31
Garter, Sovereign of the Order of the,
61
Garter Window, The, 55-80
Gentleman-in- Waiting to Arthur,
Prince of Wales, 23
George, St., Chapel of, at Windsor,
55
George, St., Cross of, 61
Gernegan, Arms of, 100, 103
Glanville, Arms of, 101, 102
Glaziers, Company of, of London, 12
Goat, Heraldic Supporter of Dudley,
30
Grand Abridgment, Fitzherbert's,
81
Grandison, Arms of, 10, 100
Grandison, John, Bishop of Exeter, 10
Gray's Inn, 32, 49, 60, 65, 73, 74, 81
Green, Arms of, 36, 100, 103
Greenland Whale Fishery, 84
Greenwich (Kent), 69
Greville, wool stapler, 42
Grey, Arms of, 3, 14, 15, 72,74, 100,
101, 102, 106
Grey, Charles Earl, 74
Grey of Codnor, 73
Grey, Edmund, of Wilton, 74
Grey, Edward, Viscount Grey of
Fallodon, 74
Grey, family of, 72-75
Grey, Sir George, 74
Grey, Henry, of Wilton, 73
Grey, Henry George, Earl, 74
Grey, Lady Jane, 1, 4, 62, 66, 68, 73
Grey, John, 73
Grey, John, of Groby, 73
Grey, Dukes and Earls of Kent, 73
Grey of Powis, 74
Grey, Richard, of Wilton, 73
Grey of Rotherfield, 73
Grey of Ruthyn, 73
Grey, Sir Thomas, of Berwick, 74
Grey, Thomas, Marquess of Dorset,
73
Grey, Walter, Archbishop of York,
73
Grey of Wark, 74
Grey of Wilton, 73
Grey of Wilton, Arthur 14th Baron,
15.72
Guilford, Arms of, 100
Guilford, Sir Edward, 3
Hache, Arms of, 103
Hadham, Capel of, Arthur Lord, 16
Hakluyt's Voyages, 84
Halberdiers, Captain of, 24
Haldane, Arms of, 100
Halle, Arms of, 42, 44, 104
113
Index
Halle, Christian, 42, 44
Halle, John, 42
Hall of John Halle (Salisbury), 42
Hampton Court Palace, 12, 53
Harnhull, Arms of, 103
Hastings, Arms of , 3, 15, 100, 101,
102, 106
Hatfield (Hertfordshire), 61
Hatton, Sir William, 26
Hawley, Arms of, 103
Hay, Arms of, 10 1
Heckington, Arms of, 67, 102, 106
Heckington, Jane, 65, 67
Heckington, William, 65
Hemel Hempstead, Manor of, 18
Henri III of France, 60
Henry V, 43, 58
Henry VI, 43
Henry VII, 2, 14, 47, 52, 53, 54, 62,
64> 71. 75> io4
Henry VIII, 3, 11, 12, 18, 32, 33, 34,
35. 36, 38, 39» 44. 45. 46» 47. 49> 55.
62, 63, 64, 65, 66, 80, 100, 101, 103,
104, 105
Henry, Prince, 16
Heraldry, Continental, 88
Heralds, English College of, 88
Herring, Arms of, 102, 106
Heytesbury, Arms of, 42, 44
Heytesbury, John, Lord of, 41
Heytesbury, Manor of, 41 , 43
Heytesbury, Maud, 41
Hilliard, Nicholas, portrait painter, 17
Hodnett, Arms of, 102
Holland, Arms of, 7, 32, 50, 102, 103
Holland, Elizabeth, 7
Holme, Arms of, 102
Hondon, Arms of, 100
Hone, Galyon, 12, 13, 33, 40, 47, 55,
56,61
Horn Sound (Greenland), 84
Horse, Master of the, 68
Hospitals, 43, 66
II4
Household, Controller of Royal, 24
Household, Steward of Royal, 43
Howard, Agnes, Marchioness of
Winchester, 20
Howard, Arms of, 21, 22, 48, 101,
102, 104
Howard, Elizabeth, 71
Howard, heraldic augmentation of,
22, 48
Howard, Thomas, Earl of Suffolk and
Baron of Walden, 35
Howard, Thomas, Earl of Surrey, 22
Howard, William, Baron of Effing-
ham, 20
Hugford, Arms of, 44, 104
Hugford, Thomas, 44
Huguenots, Military Aid to, 30
Hull, 19
Hume, Arms of, 102
Hungerford, Sir Anthony, 45, 104
Hungerford badge, 44
Hungerford Chapel (Salisbury Cathe-
dral), 43
Hungerford Crest, 44
Hungerford, Sir Edmund, 41, 42
Hungerford, family of, 40-46
Hungerford, Isabel, 44
Hungerford, Sir John, 40, 41, 42, 103
Hungerford, Lucy, 45
Hungerford, Thomas, of Downe
Ampney, 42, 44
Hungerford, Sir Thomas, Speaker
of the House of Commons, 41, 42
Hungerford, Walter, 41, 42, 104
Hungerford, Sir Walter, 1st Lord
Hungerford, 42, 43, 45, 104
Hungerford, Sir Walter, last Lord
Hungerford, 45
Hurstmonceaux Castle, 7, 8, 9, 14
Hussey, Arms of, 36, 101, 102, 103,
106
Hussey, Sir Edmund, 41
Hussey, Joan, 41
Index
Inglethorpe, Arms of, 103
Inns of Court, 32
Inscriptions on Dutch stained glass,
86
Ireland, 15, 24, 58, 71, 73, 75
Isle of Man, Arms of, 59, 105
James I, 16, 24, 25, 27
John of Jerusalem, St., Knights of,
76
John XXII, Pope, 10
Katherine of Aragon, 44
Katherine (Plantagenet), Princess, 45
Kayle, Arms of, 49, 104
Kendal, Honour and Castle of, 5
Kenilworth Castle, 27
Kentlworth, novel by Sir Walter
Scott, 27, 72
King's Glazier, 12, 33, 55
King's Guard, Yeomen of the, 64
Knolles, family of, 22-24
Knolles, Francis, 23-24
Knolles, Henry, 23
Knolles of Lincoln, Arms of, 22, 102
Knolles of Oxfordshire, Arms of, 22,
102
Knolles, Sir Robert, 23
Knolles of Rotherfield Greys, Baron,
24
Knolles, Sir Thomas, 22-23
Knolles, William, 24
Knollys, Sir William Thomas, 23
Knowsley (Lancashire), 58
Kyrby, Arms of, 103
Lacy, Arms of, 5, 90, 100, 107
Lacy, Edmund, Bishop of Exeter, 5,
90
Lacy, Sir John, 90
Lancashire, Lord Lieutenancy of, 60
Lancashire, Sheriff of, 70
Lancaster, House of, 53, 54
Langley, Arms of, 45, 104
Lathom, Arms of, 49, 58, 104, 105
Lathom, Isabel, 58
Lathom (Lancashire), 58
Lathom, Sir Thomas, 58
Latimer, John Nevill, Lord, 26
Laurence Pountney, St., Church of,
London, 62
Lee, Arms of, 102
Lee of Fareham, Lord, 13
Leicester, Arms of, 36, 103, 106
Leicester, Earl of, v. Dudley, Robert
Lennard, Sampson, 7
Lennard, Thomas, Earl of Sussex, 7
Leverstijk, Abraham, 85
Lincoln, Henry Clinton, 2nd Earl of,
Lincolnshire, Cecil Estates in, 27
Lion and Ragged Staff, badge of
Dudley, 30
Lisle, Arms of, 100, 102, 106
Little Gaddesden, Manor of, 18
Liverpool, 19
London, Lord Mayors of, 16, 21, 23
London, Tower of, 1, 30, 61, 62, 68,
69
Longchamps, Arms of, 101, 106
Longley, Arms of, 45, 104
Lovel, Arms of, 50, 101, 104
Lovel, Francis, Viscount, 14, 71
Lovel, Frideswide, 14, 50
Lovel, John, Lord, 50
Low Countries, the, 27, 55
Luccombe, Arms of, 49, 104
Lucy, Arms of, 70, 105, 106
Macwilliam, Arms of, 39, 103
Magdalene College, Cambridge, 35
Magnetic needle, early use of, 83
Malpas, Arms of, 100, 102, 106
Manchester, 19
Manners, Anne, 29
Manners, Arms of, 28, 102
US
Index
Manners, family of, 29
Manners, George, Lord Ros, 28
Manners, Katherine, 29
Manners, Thomas, 29
Manningham, John, Diarist, 16
Margaret, St., Church of, Westmin-
ster, 65
Marmion, Arms of, 36, 100
Marshall, Arms of, 101
Marshall, Ralph, 19
Marshalling, unusual heraldic, 61
Mary I, 4, 21, 47, 51, 60, 61, 62,
66,67,68,71,77, 104, 105
Mary, Queen of Scots, 15, 21, 24,
31, 60
Maximilian I, Emperor, 75
Melckbourne Preceptory, 76
Mersey, River, 19
M.O.E. (initials), meaning of, 47
Mohun, Arms and Barony of, 59, 105
Monhaut,Arms and Barony of, 59, 105
Montacute, Lord, 46
Montchesney, Arms of, 15, 101
Montfitchet, Arms of, 32, 103
Monthermer, Arms of, 103
Moore, Arms of, 102
Morrison, Bridget, 16, 18
Morrison, Sir Charles, 1, 16, 17, 18
Morrison, Elizabeth, daughter of Sir
Charles, 17
Morrison, Elizabeth, daughter of Sir
Richard, 29
Morrison, Jane Sibylla, 15
Morrison, Sir Richard, 1, 15, 31, 76
Mortimer, Arms of, 70, 101, 102, 106
Moulton, Arms of, 105, 106
Mountford, Arms of, 48, 101, 104
Moyle, Arms of, 49, 104
Moyle, Sir Thomas, 49
Moyle, Sir Walter, 49
Muschamp, Arms of, 101, 102, 106
Navigation, early, 17, 83
Il6
Neave, Sir Thomas, Baronet, 6, 61
Nevill, Arms of, 32, 102, 103
Nevill, Dorothy, Countess of Exeter,
26, 28
Nevill, John, Lord Latimer, 26
Nevill, Sir Henry, 46
Newburgh, Arms of, 100, 102, 106
New Canal, Salisbury, 42
Newman, Arms of, 103
Norfolk, Margaret, Duchess of, 35
Norfolk, Thomas Howard, 2nd Duke
of, 22, 71
Norris, Arms of, 48, 57, 101, 104
Norris, Sir Edward, of Yattendon, 14
Norris, Mary, 14, 48, 81
Norris, Sir William, 48
North, Council of the, 27, 71
North, Frances, Lady Guilford, 11,
37
North, Sir Francis, Baron Guilford,
"»37
Northampton, Marquess of, Parr
William, 4
Northamptonshire, Cecil estates in,
27
Northamptonshire, Sheriff of, 64
Northumberland, Duke of, v. Dudley,
John
Norwich, City of, Arms of, 9-10, 100
Ockwells or Ockholt (Berkshire),
stained glass at, 14
Okehampton, Baron of, v. Courtenay,
Robert
Ordnance, Master of the, 68
Ormskirk (Lancashire), 60
Orreby, Arms of, 101
Oxford, Earl of, v. Vere
Paine, Arms of, 102
Parr, Arms of, 5, 38, 100, 103
Parr, Barony of, 4
Parr, heraldic augmentation of, 36
Index
Parr, Queen Katherine, 3, 36, 38
Parr, Sir William, Marquess of
Northampton, 3-5
Parry, Thomas, Cofferer to Princess
Elizabeth, 66
Paston, Bridget, 25
Paulet, Arms of, 21,22,36,37,38, 78,
101, 103, 106
Paulet, Sir Amias, 21
Paulet, family of, 20, 21, 34, 36, 37,
39, 78-80
Paulet, John, 79
Paulet, Sir John, 20
Paulet, Motto of, 37
Paulet (Somersetshire), 20
Paulet, Sir William, 1st Marquess of
Winchester, 21, 78-80
Paulet, William, 3rd Marquess of
Winchester, 21, 78
Percy, Sir Henry, 26
Peverell, Arms of, 44, 104
Peverell, Katherine, 43, 45
Peyver, Arms of, 102
Philip, Archduke, 75
Philip and Mary, 60, 80
Pillett, Arms of, 102
Pisa, drainage of marshes at, 69
Pitstone, Manor of, 18
Plate Fleet, Spanish, 17
Playz, Arms of, 102
Pole, Cardinal, 46
Pole, Henry, 46
Pomegranate badge, 44
Pope, Thomas, 3rd Earl of Downe,
11
Pope, Sir William, Baronet, 11
Port, Arms of, 101
Portcullis badge, 51
Portcullis Pursuivant of Arms, 52
Portpole, Manor of, 73, 74
Portrait Gallery, National, 17
Poulett, Earls, 20
Powderham Castle, 43
Poynings, Arms of, 21, 36, 78, 101,
103, 106
Poynings, Barony of, 21, 79
Poynings, Constance, 79
Poynings, family of, 78-79
Poynings, Lucas, Lord, 78
Poynings, Sir Thomas, Lord, 79
Precedence, heraldic, 3
Privy Chamber, Gentleman of the,
60
Privy Councillors, 24, 30, 60, 77
Pursuivants of Arms, 52
Ragged staff, bear and, badge of
Dudley, 30
Raine (Essex), 16, 29
Raleigh, Sir Walter, 75
Ratcliff, Arms of, 15, 61, 105
Ratcliff, family of, 15, 61-63, 70-72
Ratcliff, Henry, 2nd Earl of Sussex,
62,71
Ratcliff, James, 2nd Earl of Der-
wentwater, 61
Ratcliff (Lancashire), 70
Ratcliff, Sir Richard, 71
Ratcliff, Robert, 1st Earl of Sussex,
62
Ratcliff, Robert, 5th Earl of Sussex,
I5..70
Ratcliff, Thomas, 3rd Earl of Sussex,
27,68,69,70-72
Ratcliff Tower, Richard and William
of, 70
Ratcliff, William, 70
Ravenscroft, Arms of, 57
Redvers, Arms of, 46, 104
Redvers, Mary, 46
Redvers, William, Earl of Devon, 46
Religious Houses, dissolution of, 18,
34, 36, 49, 65, 76
Richard II, 9, 101
Richard III, 71
Rivers, Richard, Earl of, 59
117
Index
Robert, Duke of Normandy, 73
Robsart, Amy, 68
Rockley, Arms of, 106
Rokesley, Arms of, 10 1
Rollo the Chamberlain, 73
Ros, Arms of, 36, 100, 101, 102, 103,
106
Ros, George Manners, Lord, 28
Ros of Kendal, Arms of, 5, 36
Rose en soleil Badge, 54
Roses, Tudor, 44, 53, 54
Rotherfield Greys (Oxfordshire), 24
Rouge Dragon Pursuivant of Arms, 52
Royal Arms, 1, 3, 7-8, 9, 11, 12, 33,
34. 36» 37. 38, 4°. 44. 46. 47. 51.
52>53»54. 55. 56. 6°. 61, 63
Royal Chamber, Usher of, 23
Russell, Anne, 30
Russell, Arms of, 102, 106
Russell, family of, 75-78
Russell, Francis, 2nd Earl of Bed-
ford, 18, 31, 75, 76, 77
Russell, John, 75
Rutland, Cecil estates in, 27
Rutland, Francis, 1st Earl of, 28, 29
Rutland, Sheriff of, 64
Sadler, Dendy, R.A., 9
Saffron Walden Church (Essex),
Audley Chapel at, 35
St. John, Arms of, 21, 36, 78, 101,
103, 106
St. John of Basing, Barony of, 21, 79
St. John of Basing, Lord, 79
St. John, Hugh, Lord, 78
St. John, Isabel, 78
St. Ledger, Anne, 28
St. Quentin, Arms of, 100
St. Quentin, Battle of, 77
Salisbury Cathedral, 43
Salisbury, Mayor of, 42
Salisbury Plaines, Wool of, 42
Salisbury (Wiltshire), 42, 44
Il8
Sallowes, Allen, 84
Sal way, Arms of, 102
Sapcote, Arms of, 102, 106
Say, Arms of, 29
Say, Idonea, 29
Say, William, Lord, 29
Scales, Arms of, 102
Scotland, Arms of, 10 1
Scott, Sir Walter, 27, 72
Seamark, Arms of, 106
Seasons, the, in stained glass, 96, 97
Sergeaux, Arms of, 102
Seymour, Arms of, 38, 39, 103
Seymour, Edward, Duke of Somerset,
38
Seymour, family of, 36, 38
Seymour, Henry, 38
Seymour, heraldic augmentation of,
38
Seymour, Queen Jane, 38
Seymour, Sir John, 38
Seymour, Thomas, Baron of Sude-
ley, 36, 38, 39
Sheffield, Lord and Lady, 68
Ships, as subjects of Dutch stained
glass, 85, 86
Simnel, Lambert, 14
Skelton, Arms of, 101
Solicitors General, 25
Somerset, Duke of, v. Seymour,
Edward
Somery, Arms of, 2, 100, 102, 106
Spencer, Arms of, 103
Spenser, Edmund, 15
Stafford, Arms of, 49, 50, 102, 104
Stafford, Edward, Duke of Buck-
ingham, 35
Stained Glass, i\th Century, 6, 7-8,
9 ; \$th Century, 5, 7, 8-9, 10, 90 ;
ibth Century, 1-5, 11, 14, 15-32,
33-39. 40-50. 5i. 52. 53. 54. 55-8o,
81-82, 83, 85, 86, 90 ; 17th Cen-
tury, 87, 88, 93, 94, 96, 98, 99
Index
Stamford (Lincolnshire), 64, 65, 67
Stanford Dineley (Berkshire), 81
Stanley, Arms of, 49, 50, 56, 57, 104,
105
Stanley, family of, 56-60
Stanley, George, 59
Stanley, Henry, 4th Earl of Derby,
56
Stanley, Joan, 57
Stanley, Sir John, 58
Stanley, Thomas, 57
Stanley, Thomas, 2nd Earl of Derby,
59»7i
Stanley, Thomas, 2nd Lord, 59
Stanley, Sir William, 57, 58
Stanneries, Lord Wardenship of the,
76
Staple, Merchant of the, 42
State, Secretary of, 65
Stoke, Battle of, 14
Stoke Poges (Bucks), 26
Stokes, family and arms of, 81, 82,
107
Stoneley (Staffordshire), 56, 57
Strange, Arms of, 36, 59, 103, 105
Strange, George Stanley, Lord, 59
Strange, Joan, 59
Strange of Knockyn, John, Lord, 59
Strephon, 99
Stuart Dynasty and Public Rights,
25-26
Sudeley, Arms of, 106
Sudeley, Lord Seymour of, v. Sey-
mour, Thomas
Suffolk, Thomas Howard, Earl of, 35
Sun in Splendour, badge of, 10
Surrey, Thomas Howard, Earl of, 22
Sussex, Robert Ratcliff, 5th Earl of,
v. Ratcliff, Robert
Sussex, Thomas Lennard, Earl of, 7
Sussex, Thomas, 3rd Earl of, v. Rat-
cliff, Thomas
Sutton, Arms of, 106
Swans, Keeper of the, 64
Swinfen, Arms of, 102
Talbot, Arms of, 100, 106
Tavistock Abbey, 76
Thalk (Staffordshire), 57
Thouars, Due de, 58
Tin mines of Devon and Cornwall, 77
Tiptoft, 32, 102, 103
Tittleshall Church (Norfolk), 26
Topographer, The, 19, 22, 61, 75
Touchet, Arms of, 57
Tower Hill, 16, 71
Trade, development of overseas, 83
Treasurer, Lord High, of England,
21, 43, 79
Treasurer of Royal Household, 23
Treasury, Commissioner of the, 24
Trenchard, Sir Thomas, 75
Trusbut, Arms of, 102
Tutbury, 21, 24
Vache, Arms of, 10 1, 106
Valence, Arms of, 15, 100, 101, 102,
106
Van Slauerden, Schipper, 86
Vaux, Arms of, 102
Vere, de, Arms of, 48, 102, 104
Vere, de, Jane, 48
Vere, de, John, Earl of Oxford, 48
Vesci, Arms of, 10 1
Vipont, Arms of, 101
Vyrey, Arms of, 103
Walcot, Arms of, 67, 102, 106
Walden Abbey (Essex), 34
Walden, Lord Howard of, 35
Wales, Arms of Princes of, 8, 11
Wales, Lord Presidentship of, 77
Wallingford, William Knolles, Vis-
count, 24
Wardrobe, Groom of the Royal, 64
Wards, Court of, 24
II9
Index
Warrenne, Arms of, 59, 105
Warwick, Ambrose Dudley, Earl of,
1. 3P-31
Warwick, Richard Beauchamp, Earl
of, 31
Warwick, St. Mary's Church, 31
Webb, wool stapler, 42
Wenman, wool stapler, 42
Went worth, Arms of, 31-32, 103
Wentworth, Sir Thomas, Lord Went-
worth, 31-32
Westminster Abbey, Lady Chapel at,
47. 52, 53
Westminster Abbey, Tomb of the
Earl of Exeter, 28
Westminster Palace, Windows at, 12
Weymouth (Dorset), 75
Whaddon (Bucks), 15
Whale, Jon de, 84
Whitefriars, Stamford, 65
Whitehall (London), 61
Whittlesea Mere, Water Bailiff of,
64
Wllbraham, family of, 58
Wiltshire, Earl of (Sir William
Paulet), 78
Winchester Cathedral, burial of the
Countess of Exeter, 28
Winchester, 4th Marquess of, 79
Winchester, Marquess of, 20, 21, 28,
78
Winchester, See of, 5
Windsor (Berks), 55, 75
Winston, Arms of, 67, 102
Wirral, Lord Warden of the Forest of,
Wise, Arms of, 102, 106
Woburn Abbey, 76
Wolsey, Cardinal, 35, 62
Woodstock (Oxfordshire), 61
Worsley, 19
Wothorpe, Manor of, 65
Wriothesley, Sir Thomas, 42
Wroxton Abbey, n, 33, 37, 40, 47,
t55
Wyatt, James (Architect), 1, 43
Wyatt, Rebellion of Sir Thomas, 61,
77 .
Wydville, Arms of, 59, 105
Wydville, Elizabeth, 73
Wydville, Jacquetta, 59
York, Archbishop of, 73
York, Elizabeth of, 53
York, House of, 53, 54
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